Week 34: Phoebe Bridgers- Lost Weekend

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You have to admire Phoebe Bridgers for trying something different on “Lost Weekend”: a departure from her usual indie-folk into a more atmospheric, ambient soundscape clearly inspired by Bon Iver. The songs are beautifully produced, wrapped in thought-provoking lyrics, and drenched in a dreamy feel. The best examples would be ‘Haunted’, ‘Bobby’, and ‘Still Standing’. Highlights also include ‘Lost Boys’ and ‘I Can’t Wait’.

The new sound may be interesting, but it tempers the album’s energy. The floating production complements the themes of grief and reflection, but the tracks’ space starts to blend too much, and the record feels more meditative than memorable. You won’t feel the energy of her earlier material, and more than likely feel a bit underwhelmed by “Lost Weekend”.

The album is dreamy, beautiful, and ambitious, and definitely a new beginning for Phoebe, but this record is far too quiet if you are looking for something more energetic. I have mixed feelings about whether I like it.

Song recommendations: ‘Still Standing’, ‘Haunted’, ‘I Can’t Wait’

6/10

Week 33: The Reytons- A Love Letter to a Broken Town…

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The Reytons are brimming with confidence on “A Love Letter to a Broken Town…”. They haven’t changed their style since success; they have used it to give the fans what they want. The album is packed with catchy choruses, big riffs, and energy that will get the crowd going in any venue.

Of course, since they first broke through, they have been compared to fellow Yorkshire band Arctic Monkeys, especially when Jonny Yerrell sounds identical to a young Alex Turner, as I discovered from my previous review of the then-unsigned indie band. Unlike the Arctics though, they’re heavier and have a more powerful sound that sets them apart.

Let’s begin by looking at the opener ‘Jukebox’, which is full of nostalgia, working-class pride, and energy. ‘Busker’s Paradise’ tells a great story of a town fading away.

‘Hello, How Are You Today’ has strong energy, but is their most thought-provoking.

Those 3 tracks show the band’s progression, but they still stay true to themselves with their grit, humour, and honesty, which helped their popularity soar.

I loved the record’s consistency. It is hard to choose a favourite, but those 3 tracks I singled out are the best on there for me. However, every track brings value. Actually, I am going to add ‘Best Night of His Life’ because this is going to get the crowds going.

The energy seldom dips, so overall, it is an extremely pleasant listen from the outset. It underlines once more that guitar music is far from dead. The album has bite, heart, attitude, and a loud, guitar-driven edge. I can see it being nominated for the Mercury Prize next year.

Song recommendations: ‘Busker’s Paradise’, ‘Hello, How Are You Today’, ‘Best Night of His Life’

9/10

Week 32: Ariana Grande- Petal

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What a very disappointing album.

Songs that had potential were ruined by too much auto-tune, which diluted the emotion from the record.

Ariana has an amazing voice, but it is buried by Max Martin’s production, which is both distracting and artificial. I have to say, I am also disappointed with him.

Saying that, I believe these songs will work better live if the auto-tune is used sparingly or not at all. The music will have more space, letting Ariana’s vocals shine.

As for “Petal”, it’s utter auto-tune garbage. Don’t even bother listening.

No rating

Week 31: Charli XCX- Music, Fashion, Film

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“Music, Fashion, Film” took me by surprise. I was expecting the usual electronic-influenced sound from Charli XCX, but she tried a bold rock sound. It was very refreshing, despite the album being a bit hit-and-miss.

My recurring issue with her songs is the heavy use of auto-tune. Tracks like ‘2007’, ‘Wink Wink’, and ‘Persona’ are spoiled by it. They all had potential, too. As ‘Magic Metal Montana’. The drum intro reminded me of Blur’s ‘Song 2’, but then the pathetic auto-tune saturates it.

The highlight was ‘SS26 ’, a politically-charged track that captured the album’s energy and confidence. The others were ‘Camera’, ‘I’m Afraid’, ‘Yeah’, and Card Declined’. I’m pretty sure on the latter I heard a hidden track at 2:44.

The closer, ‘No One Lasts Forever’, is something that Phoenix might do, albeit not the melancholic, repeated spoken-word verse on the outro.

Another thing to admire is the artwork. It depicts 3 representatives from the record’s title: John Cale, Marc Jacobs, and Martin Scorsese. Despite the unnecessary use of auto-tune, I liked seeing Charli try something different and try out an in-your-face rock album.

Song recommendations: ‘SS26’, ‘No One Lasts Forever’, ‘Card Declined’

7/10

Week 30: Gracie Abrams- Daughter from Hell

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We are seeing Gracie Abrams further maturing as a songwriter with songs like ‘Hit the Wall’, ‘The Knife’, ‘Look at My Life’, ‘Good Reason’, and ‘Cold Goodbyes’. They have emotional depth and much sharper lyricism than on her previous album.

The National’s Aaron Dessner (yes, one of the twins) did all that was asked of him. His production blends with her record’s reflective nature.

I cannot fault Aaron Dessner and Dan Nigro’s production, but it’s just too safe.

The majority of the songs have that all-too-familiar muted, mid-tempo sound, which drags the album, and it lasts for almost an hour.

Her writing has further improved, but “Daughter from Hell” does not take any risks. Instead of capturing your ear and imagination, it acts as background music.

A well-made record, but far too often my concentration wandered. I hope next time she has some more bold ideas.

Song recommendations: ‘Hit the Wall’, ‘Cold Goodbyes’, ‘The Knife’

6/10

Week 29: The Rolling Stones- Foreign Tongues

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I loved “Foreign Tongues” from start to finish, and the long, long wait was well worth it. There’s nothing nostalgic about it; it’s full of energy and swagger. The grit and attitude are on full display on songs like ‘Rough and Twisted’, ‘Hit Me in the Head’, and ‘Jealous Lover’, which has defined their sound for more than 60 years. The Stones proved they have still got the ability to write catchy, memorable rock songs with tracks like ‘Mr. Charm’ and ‘Divine Intervention’

I loved how fun the album was. It never feels forced or tired. It sounds like a band enjoying themselves. Andrew Watt has done a great job with the production, with the songs sounding fresh and powerful, but still preserving the unmistakable Rolling Stones sound. Mick’s Jagger’s vocals are top drawer, and the rest of the band ride on the brilliant production.

Usually covers are a bit of filler on an album, but the versions of Amy Winehouse’s ‘You Know I’m No Good’ and Chuck Berry’s ‘Beautiful Delilah’ are done justice. Amy’s one is done with a bluesy swagger, and Chuck’s is a nod to one of the band’s greatest inspirations.

This record just sounds better with every listen. Energetic, strong, and plenty of memorable tracks. It has to be the best album from them in recent times. Can you imagine what they’re going to sound like live? I can’t fucking wait.

Song recommendations: ‘Hit Me in the Head’, ‘Jealous Lover’, ‘You Know I’m No Good’

10/10

Week 28: Madonna- Confessions II (Confessions on a Dance Floor: Part II)

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It is undeniable that Madonna has left a lasting impression on pop music. Since her pomp in the 80s, she has always adapted her image and style, changing the face of electronic music, dance-pop, and pop culture.

A career spanning over forty years has kept her in the limelight and flexible, which is why she is dubbed the “Queen of Pop”.

Now, after quite a lengthy wait, she has returned with the soundtrack to “Confessions II”, where she has returned to the dancefloor sound that made the first “Confessions on a Dance Floor” album a big hit, but with a more thoughtful feel.

The production is what shines the most this time. Stuart Price has done a wonderful job bringing bright electronic beats and big club rhythms to life on tracks like ‘I Feel So Free’, ‘Danceteria’, ‘One Step Away’, and my overall highlight ‘Love Sensation’. It has a catchy hook and uplifting production, making it a typical Madonna track. It isn’t up to much lyrically, but the production is enough.

The album focuses on style rather than substance. The music is absolutely brilliant, but the lyrical content is either minimal or repetitive.

Songs that had potential, like ‘Good for the Soul’, ‘Read My Lips’, ‘Everything’, ‘Love Without Words’, ‘Betrayal’, and ‘The Test ’, fell down due to the excessive use of autotune.

However, “Confessions II” may not be her best album, but it is uplifting and fun with plenty of club-influenced tracks.

The songwriting isn’t the best, but does it need to be? The record is all about uplifting production with dance beats, which more than makes up for it. If you are looking for thought-provoking lyricism, then this album isn’t for you. If you want to have fun and get lost in the music, then you are going to love this.

Song recommendations: ‘Love Sensation’, ‘Danceteria’, ‘I Feel So Free’

7/10

Week 27: Muse – The Wow! Signal

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I  cannot believe it! I actually like a Muse studio album! They have finally captured some of that explosive energy from their live shows in the studio. Something that has always been missing. Muse are fucking brilliant live, but their records always seem flat. This one finally has a live feel.

My ears pricked up from the intro of ‘The Dark Forest ’; you can feel that energy.  ‘Cryogen’, ‘Hexagons’, and ‘The Sickness in You & I’ have that dramatic Muse sound with huge riffs.

‘Nightshift Superstar’ and ‘Unravelling’ bring something new to the table, with their groovy feel, but it’s still unmistakably Muse.

The album ends on a sci-fi vibe with ‘Space Debris’ and an emotional note.

What I fucking loved about the record was that the songs had that live energy.  They are not suffocated by heavy production. They just let that raw, urgent energy that we experience live take the lead. Fucking at long last. The choruses are as usual stadium-ready, every riff has to be heard with an ever-increasing volume to hear them in all their glory. Those songs mentioned will be embraced by the fans on the tour.

This is one of their best records ever. They have finally realised they can capture a fair bit of their live magic in the studio. Whatever songs are picked for the tour will be absolutely amazing.

Song recommendations: ‘The Dark Forest’, ‘Nightshift Superstar’, ‘Hexagons’

9/10

Week 25: Olivia Rodrigo- You Seem Pretty Sad for a Girl So in Love

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This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.

The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.

I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.

I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.

I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.

Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’

7/10

Week 24: Niall Horan- Dinner Party

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Niall Horan’s ‘Dinner Party” was not about big pop hits, but rather the main theme of romance and home. It is calmer than “The Show”, but it shows a level of maturity and self-assurance.

The album begins strongly with ‘Tastes So Good’, which is energetic, and then the title track expresses how he met his significant other. The more laidback  yet heartfelt tracks are ‘She Gets It from Her Mother’, ‘Better Man, and ‘Little More Time’, showing that Niall is now comfortable and sincere with his writing.

The only negative I could find was with ‘Monochromatic’, yes, it may match the record’s overall sound, but it lacks the emotional impact and is less catchy than  the others. It simply blends into the background.

The album keeps up that warm fuzzy feeling into the second half with tracks ‘Flowers’, which is easy to enjoy, ‘Boys Are Fun’, which is playful, and ‘Pretty’, which stands out for its great guitar work. The record ends on the melancholic ‘End of an Era’, which was out of the blue.

It’s not his best work, but the writing is great and heartfelt, focusing on raw honesty rather than showboating. It may not be better than ‘The Show’, but it certainly grows on you, and the more you listen, the more beauty is revealed in the songs.

The songwriting is exceptional, and to be honest, I wasn’t expecting such a mature album.

Song recommendations: ‘Tastes So Good’, ‘Dinner Party’, ‘Pretty’

8/10