Week 41: Blossoms- Song from the Wedding Cake

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Blossoms return with their sixth studio album and new theme, “Song from the Wedding Cake”, and it is delicious. You may remember their last album centred on a fibre-glass giant gorilla called Gary; this time, I imagine their backdrop is a giant wedding cake. The songs are uplifting, with funky basslines, catchy melodies, and an all-round good vibe, to brighten these dull autumn days.

The opener ‘Joke About Divorce’ has a catchy chorus, playful lyrics, and an infectious groove that sets the mood from the start. ‘Husband’ has bright keyboards, while ‘Meet Me in Love’ blends shoegaze with disco.

One highlight is the first track I heard on Live Lounge last week, ‘Additional Driver,’ featuring Radlett’s Declan McKenna. I felt Tom and Dec’s vocals complemented each other over a fun, playful song. Dec’s inclusion, who contributed to the writing, didn’t feel forced.

The instrument that stole the show was the bass. An outstanding job by Charlie Salt. His basslines were super funky. ‘Guts’ is a great example of his strong bassline, which gives it a catchy groove. The same goes for ‘Uma Thurman’, but Charlie was joined by sharp guitars over danceable beats.

Of course, as with any album, there are tender moments. Songs like ‘Fall Into You’ and ‘Where Have You Been My Whole Life?’ sprinkle romance, but the record never loses its warmth. The closer, ‘The Deep End’, brings the energy down.

Most of the lyricism focuses on love, marriage, and relationships, quite apt when you look at the title. But as always with Ogden, he adds humour and enough personality to keep it from getting too soppy. Shawn Lee does a great job with the production, letting each instrument shine while keeping that classic Blossoms earworm.

I loved the album’s positive vibe. The band clearly had fun during the sessions. Of course, Blossoms are known for their indie and shoegaze sound, but it was nice to hear funk and disco thrown in to freshen things up.

What a pleasure to listen to from start to finish. The collaboration with Dec was a highlight; the melodies are catchy, and Chaz’s funky basslines are excellent. A record that makes you feel good.

Song recommendations: ‘Additional Driver’, ‘Joke About Divorce’, ‘Guts’

9/10

Week 39: beabadoobee- Pylon

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beabadoobee doesn’t care about making an album for now; she dives headfirst into the alternative/indie sound of the early 2000s. The record is driven by guitars, so that means plenty of distortion, feedback, and fuzzy riffs sit next to her softer vocals to take the edge off. The album may sound nostalgic, but it doesn’t try to copy the past.

On the title track, you hear something quite ethereal before the guitars start to take control. The acoustic is joined by a distorted guitar solo, and then the outro includes feedback over that acoustic strumming before reverb brings it to an end. That sets up the tempo for the rest of the record.

‘Sun Has Set’ quickly follows with a burst of energy. The guitars are loud and raw, giving the album its first sharp burst. ‘Estranged’ is quintessentially 2000s indie, with the guitars that would fool you if you had never heard the song or the artist before.

The guitars remain the main focus on ‘Switchblade’, ‘Write Me a Letter’, and ‘In Motion’ as beabadoobee shifts from soft to bursts of distortion. ‘Memories’ is more reflective, and ‘Radio’ brings the tempo up again with its fuzzy sound and strong guitar riff.

I enjoyed the collaboration with Paramore’s Hayley Williams on ‘Nothing to Prove’. The vocals blend well, and Hayley doesn’t just feel like a guest. She brings value to the track. Other collaborations include Brendan Yates on ‘Powerlines’, and Deftones frontman Chino Moreno on the closer ‘Satellite’.

“Pylon” reminded me of early 2000s indie music. It may have elements of grunge, emo, and ’90s alternative rock, but overall, it has that early-2000s indie, guitar-driven sound. Of course, it isn’t all just loud guitars; it has acoustic parts, ethereal vocals, and tender moments, but the electric guitar is at the heart of it.

That is why I like “Pylon”. It is nostalgic, but her songwriting and vocals make it unique. A lot of solo artists pretending to be rock sound polished, but beabadoobee just gets it. The album has distortion, feedback, fuzz, and is raw. That makes for an authentic listen.

Song recommendations: ‘Estranged’, ‘Sun Has Set’, ‘Pylon’

9/10

Week 38: Ezra Collective- Here Because of Hope

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Ezra Collective have gone from strength to strength since winning the Mercury Prize in 2022. From albums that charted low to this. What is great is how they make jazz accessible to every type of listener. Like Jamie Cullum, they are unconventional. More on that later, but this is their best album to date. The music is uplifting and warm, and the instruments are expertly played, blending several influences without pretence.

The album has three sections, taking you on a musical journey from Africa to the Caribbean, and back to the band’s hometown of London. As you know, I detest interludes, but these ones have merit to them. They are spoken-word passages called ‘Part 1’, ‘Part 2′, and obviously ‘Part 3’, with Letitia Wright delivering them, as well as compelling poems they act as a bridge to each section.

The music starts properly on ‘Blow Your Trumpet’, and there are no Nik-Naks to guess which instrument features prominently. ‘Sweet Echo’ adds further energy, while ‘Don’t Worry’ brings the tempo down while maintaining the record’s warm nature. ‘ Someday’ shows what happens when the band let the song grow naturally.

I was very impressed with the collaborations: ‘Only Love’ has Pa Salieu’s voice blend seamlessly. ‘Well Organised’ is aptly named because Lila Iké fits well, matching the album’s Caribbean-inspired middle section.

Then, Leon Lewis is absolutely fantastic on ‘All I Need’. It may seem an odd pairing, but it worked brilliantly. Leona’s vocals fit superbly with the relaxed arrangement. It also shows the band’s versatility without sacrificing their identity. The final track, and also the final collaboration, features Libianca on ‘Most High’. She isn’t added just because she’s another guest; the track has meaning.

Beyond the collaborations, the band play their usual instrumentals on ‘Birdie Sings’, and ‘The Last Stand’ is inspired by reggae and dub. Then there’s the Latin flavour on ‘El Corazon’, something they haven’t done before. As we approach the end of the album, we get a London blend of ‘Jubilee Feeling’ and ‘Black Flag’.

I loved how well the album flowed. You had 17 tracks, three spoken-word interludes, and several collaborations, yet the record stays streamlined, which makes for a pleasurable listen from the off.

“Here Because of Hope” features musicians with mind-blowing skills, excellent collaborations, and, most importantly, joy. I did not skip any track. I fucking loved it. It has to be another contender for the Mercury Prize next year.

Song recommendations: ‘All I Need’, ‘Part 1’, ‘The Last Stand’

9/10

Week 37: Kasabian- Act III

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It’s funny that people are still crying about what Kasabian sound like since Serge became the frontman. It happens with every single release. The purists have been crying recently about the song they did with Calvin Harris, which I actually liked quite a bit. “Act III” will definitely piss off the purists, but this is Kasabian now, and for me, they’ve still got it.

Let’s do a mini track-by-track summary:

Quiet on Set Please 1m9: An interesting name, but a pointless interlude.

SOULMATE: The proper opener with a darker, heavier groove.

Hippie Sunshine: That trademark Kasabian swagger and energy.

SUPERPOWERS: I like the rather strange video that matches the surreal psychedelia.

GREAT PRETENDER: A busy track with a big pop chorus.

NOTHING BETTER THAN THIS: Catchy one that’ll work live.

mind palace 2m7: Pointless interlude.

SILVER APPLE EYES: Mood shifter.

THE GURU AND THE CRYPTO TIME MACHINE: Very surreal, but fresh.

npc 3m12: More pointless filler.

GLIDE: Slow.

HYPER//RISING: More heavier Kasabian sound.

SAY YOU (CLOSER): A warm closer.

Of course, you’ll have the usual suspects who bitch and whine that this isn’t the Kasabian they fell in love with, but you know, this is Serge’s band now. I like hearing what mad direction he’s going to send the band in with each song, never mind the albums. Why try and emulate what was done almost a decade ago? Serge is moving the band in his own way, and “Act III” has some of that magic from the previous era to keep the balance.

I’m not fond of interludes, and some experiments miss the mark, but the core songs are catchy, energetic, occasionally surreal, and made for live shows.

It probably won’t satisfy the purists, but they can still enjoy anthems like ‘Fire’, ‘Underdog’, ‘Club Foot ’, etc., if they can open their minds and see the band live. For everyone else, keep enjoying the ride.

Song recommendations: ‘NOTHER BETTER THAN THIS’, ‘HYPER//RISING’, ‘SUPERPOWERS’

8/10

Week 36: Alex Warren- WILDCHILD

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Have I reviewed Alex Warren before? Probably. I remember discovering him on the radio when ‘Ordinary’ was being played to death, rather than as a social media personality. I imagine on something like TikTok, which I have no interest in being on. He is now considered to be one of the biggest new stars at the moment thanks to ‘Ordinary’. “WILDCHILD” keeps him on the emotional singer-songwriter path, addressing subjects like love, loss, relationships, and, unfortunately, the loss of his father.

I know these songs have deep meaning, but the album just didn’t tingle my ear. Songs began to sound all too familiar. The best examples were ‘Same Stars’, ‘Passenger’, ‘Rescuer’, and ‘I Miss You More’. I have since heard some remixes of some of the tracks, and they are better in that form. I was rapidly losing interest by ‘Only Thing Left’ and ‘Won’t Go Back’. I have heard ‘Fever Dream’ too many times now to even care about it. The songs probably had some good stories behind them, but the instrumentation just bored me.

Even though I knew these songs came from real experiences, the album still didn’t grab my attention. Songs like ‘Same Stars’, ‘Passenger’, ‘Rescuer’, and ‘I Miss You More’ started to sound too similar. By the time I got to ‘Only Thing Left’ and ‘Won’t Go Back Again’, I found myself losing focus. Warren might have good stories, but the music just didn’t keep me interested.

My attention only picked up when ‘Last Time’ came around. It is certainly my highlight with its rock edge. Alex should have done more of that, or at least balanced it better, because the record just feels repetitive.

I understand there was a lot of emotion when making the album, especially on the title track, but it ended up feeling like background music to me. It didn’t annoy me; I simply lost interest. Sometimes it’s worth taking a risk rather than being boring.

Song recommendations: ‘Last Time’

4/10

Week 35: Paul Heaton- Jenius

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I’ve always admired Paul Heaton’s ability to blend clever lyrics with catchy tunes, and it’s not fading anytime soon. Most of “Jenius” is fucking great. I love how warm, lively, and full of personality it is, with songs suited for a sing-along in a pub, rather than to listen to in a quiet space.

I fucking love the Celtic-punk knees-up spirit running through it; songs like ‘Favourite Kind of Idiot’ express that, and I’m so fucking proud of Rianne Downey since I first struck up a conversation with her during lockdown. It’s fucking mental to see her on telly or hear her on a record like this; it’s like a surreal experience. Anyway, back to the song: I fucking love the energy, and how the song feels like it would get messy in a pub when it’s played. ‘She Ain’t Pretty’ is another one that showcases that. Paul also moves through folk, ska, country, and pop without ruining the album’s feel.

Like I said, I am buzzing about little Rianne, and she was fucking amazing on this. Her voice is a perfect fit with Heaton’s. Rianne isn’t just a supporting artist, but a key part of the record. She is great on ‘Favourite Kind of Idiot’, ‘I Want the Job’, ‘She Ain’t Pretty’, ‘Do Not Ask Me’, ‘Don’t Lean on Me’, ‘The Whisky Did’, and ‘Before Before’, and those songs wouldn’t be the same without her. Even though she’s not mentioned on the other tracks as a featured artist, she is clearly there. I recognise that voice anywhere.

There are also trademark tracks like ‘Sad Songs and Lawsuits’, which is ska-influenced, and ‘Can’t Get Next to You ’, the opener sets the tempo for the rest of the album. It also has an American pop-punk intro. ‘Jet Black Sky’ is more atmospheric before the album’s catchy and energetic tracks return.

I can’t remember which track it is towards the end, but there’s a nod to the guitar riff chorus of Jimi Hendrix Experience’s ‘Voodoo Child(Slight Return)’. Anyway, all 15 tracks matter; there’s no filler here. Paul hasn’t lost the knack for writing about relationships, drinking, people, politics, and speaking his mind. The lyrics are often observant yet funny, but the production pairs those subjects with lively, fun music.

“Jenius” was fucking amazing. Even when the tempo calms, the album picks up again with that fucking great Celtic-punk energy. My favourites are definitely the ones with Rianne.

I fucking love the record’s warm, funny, melodic, and wonderfully rowdy nature. You can definitely tell that it was a fucking joy to be part of the recording sessions. If anyone hates this, they’re just a miserable cunt. This was an absolute pleasure to listen to.

Song recommendations: ‘My Favourite Kind of Idiot’, ‘She Ain’t Pretty’, ‘Before Before’

9/10

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’ (This being more her conventional sound slightly tweaked), 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