Month: February 2018

Week Twenty-Nine: The Vamps- Night and Day: Night Edition

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I remember seeing the Vamps (Well, hearing them more, really.) at the Blackpool Illuminations in September 2016 as I walked back from my cousin’s wedding reception to the hotel I was staying in to collect something I needed to bring back to the reception (Slightly worse for wear, I might add.). I was very impressed to hear the Vamps from my hotel to the reception, who were just across the road from both locations. Even more beautiful was that I didn’t even have to pay to hear them perform live, probably for the first and only time in my life. 

Anyway, I was looking forward to reviewing their third album, “Night and Day: Night Edition”, as there is also a song from “Meet the Vamps” that remains stuck in my head from 2014 (I have no idea what it is called, and I can’t be fucked to go and listen to find it.). Suppose you watch the band’s mini-documentaries via various social media sites. In that case, you will notice that the footage features them in the studio playing with instruments and how they want to be perceived as a band rather than a pop act. They also talk at length and in-depth about how they write their songs, which leaves you with plenty of optimism for “Night and Day: Night Edition”.

One flaw with this emphasis on their songwriting process is it’s not about how you write a song, but more the fact that it is good once you have finished. So in this sense, the band was trying too hard to get their point across rather than simply focusing on letting a song form into greatness. It’s like a garage/DnB/grime MC saying, “My mate Matt has a cat called Mack or something like that” It may be coherent and rhyme and even form a basis of a song, but it’s far from fucking brilliant. Fucking awful, in fact, but the point is, it’s basic songwriting and gives an insight into the songwriting process that, as you can tell from the content, is unnecessary to broadcast because it is shite rather than good.

Rendering the footage from the studio of the band irrelevant.

The documentaries lead to their downfall with “Night and Day: Night Edition”, as it is a very disappointing listen and a relief as you approach the end of it. The record is bereft of anything resembling a little existence of a good song, even the best of the bunch, “Middle of the Night” is more like switching the television or radio on as background noise as you are partaking in a spot of DIY. “Shades On” is…in metaphorical terms, it is like the fucking idiot at a party who goes up to all the guests telling shit jokes, or you might say the Colin character portrayed by Charlie Higson from the Fast Show.

“Night and Day: Night Edition” is very short and very poor. The second half of the record, which I presume is called “Night and Day: Day Edition,” is slated for release towards the end of the year to early 2018, and it can’t get any worse from my point of view. As I said, I was looking forward to hearing this, but I have been left utterly underwhelmed and disappointed when I know that the band do have some outstanding and catchy tracks from their previous records. I hope for a vast improvement on the second part of the record. After spending four weeks at the top, this record didn’t deserve to oust Royal Blood’s “How Did We Get So Dark?”. I still expect that the second part of this record will also be at number one due to the following the band has built up since 2014.

3/10

Week Twenty-Five: Royal Blood- How Did We Get So Dark?

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The incredible thing about the Sussex duo (Brighton, to be precise.) is that they only started in 2013 and, over a year later, released the self-titled debut album that instantly catapulted them from unknowns to established artists on the back of a concise journey on their way there. It is some record, as I have never heard of any artist, let alone a band, making it to the top in such little space after their formation. They were instantly successful, as few metal rock bands were coming through in the mainstream. 

Well, certainly not from the United Kingdom and Ireland, anyway. The biggest surprise is that they still stand alone with their in-your-face metal rock. Usually, an act like this inspires several others to come through with the same sort of sound (I can only think of Abadden, who are much, much heavier.), but for some reason, it didn’t appear to happen. The first thing that struck me about them is how far technology has come, and Mike Kerr can make a bass squeal like a lead guitar. If you learned about this and listened to them without seeing anything, you would assume that Mike plays lead/rhythm guitar rather than bass.

The trouble is, where would they go with their second album sonically? Although having fans like Noel Gallagher got people to listen to them, you can’t see them doing anything like the space jazz-inspired “Riverman” featured on Noel Gallagher’s High Flying Birds’ second album, “Chasing Yesterday”, could you? But what was in store on “How Did We Get So Dark”? They certainly didn’t go the space jazz, cosmic pop or psychedelic rock route. However, although it may be more of the same as their debut album, this record is still original—another 40-minute metal rock record that decimates your eardrums with some rather bizarre choices in direction.

The biggest surprise on the record that features “Lights Out”, “I Only Lie When I Love You”, and the album track “How Did We Get So Dark?” is a hip-hop element in “Sleep”. The stand-out track for me has to be the frantic “I Only Lie When I Love You”, which in metaphorical terms, sounds like the duo is fighting against tidal waves as they try their best to swim through.

Although this record may be more mature than the previous one, we still absorb Mike Kerr’s lyrics about a relationship that has faded away and gradually unravels throughout the record. We start with Mike being besotted with songs like “Hook, Line & Sinker” to the heartbreaking moments of “Hole in Your Heart”. Let’s face it, with an album title of “How Did We Get So Dark?”, you weren’t expecting an upbeat album talking about fluffy clouds and bouncy castles, were you? The record may not tread any new ground with creativity, but it has very well-executed production and songwriting. Does it beat their self-titled debut album? Even though Messrs Mike Kerr and Ben Thatcher have shown some new direction with a bit of funk and hip-hop, it still has a very tough act to follow. For Me, “Why Did We Get So Dark?” does not stand up to “Royal Blood”, but only time will tell if that’s the general view of the critics and listeners.

8/10

Week Twenty-Four: London Grammar-Truth is a Beautiful Thing

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I liked this album the moment I heard it. The songs are different from their last record, where they were mostly pop and catchy, which is a good thing because I like music that dares to challenge the status quo (No pun intended.). It shows that the band has grown up and taken that leap to try something new, making for a very mature-sounding record. Don’t get me wrong. I did like some of the songs from their debut record, like “Wasting My Young Years” and “Strong”, after being introduced to London Grammar while watching “Later…With Jools Holland”.

It is quite hard to fathom how Hannah Reid dresses when an angelic sound comes from her mouth. Without her, would London Grammar be as successful? Who knows, she is an essential member and at the epicentre. This record has given her more of a chance to shine through with her vocals that were less prominent on the debut record, and in turn, that decision by the band has paid dividends.

Forget the fact that this album lacks any actual stand-out songs that “If You Wait” had, but at the same time, it’s also a good thing because it is more intriguing for those who don’t just see music as pop. Therefore, the record entirely is a great listen. So what if the tracks are mid-tempo, elongated and, on the whole, melancholic? I would instead a mature-sounding record than the fucking shit you hear weekly in the singles charts. This is why album charts are still crucial to the public and the artists because that is where genuine talent who can adapt is found. It really is an excellent record and has serenity in abundance.

Maybe not the kind of album people expected of London Grammar after their debut, “If You Wait”, but the band has shown maturity and moved forward with their ideas and sounds. However, they still have original features that got everyone’s attention, so those who loved “If You Wait” won’t be disappointed with their follow-up. Even if you don’t like it initially, you will grow to love it. If vocalist Hannah is the point of interest on their third album, I will look forward to it. She is certainly the definition of “Don’t judge a book by its cover”.

8/10

Week Twenty-Two: the Beatles-Sgt.Pepper’s Lonely Heart Club Band 50th Anniversary Edition Re-mastered by Giles Martin

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Sgt.Pepper’s Lonely Hearts Club Band:

This opening song lets the listener know that the album will tell a story as it progresses, with the Beatles accompanying Sgt.Pepper along the way.

With a Little Help from My Friends:

The most famous version of this is by the Scottish band, Wet, Wet, Wet in the early 1990s. Anyway, onto the song. For a change, it is drummer Ringo Starr who takes lead vocals, but not to try to appease the drummer’s fans. This is one of the most uplifting songs ever made by anyone, and here is a fact for you about the mid-tempo groover; it is still performed currently in Ringo’s live shows.

Lucy in the Sky with Diamonds:

Well, this is psychedelic rock with a Beatles twist. Even though the song suggests that it might be about the psychedelic drug known as LSD, there is a strong rumour that John actually wrote it about his son, Julian, after he brought home a picture from nursery (I think.), which had a sky featuring diamonds. John thought that would make an excellent subject for a song. As for “Lucy”? That remains a mystery, but it could have been used for rhyming purposes.

Getting Better:

A double-edge to this track, indeed. On the one hand, it might be very relaxed and let the listener drift off into space, but on the other hand, the song paints a bleak picture of a man who beats his woman up, but he is getting better at cutting this out for good and learning to treat her right.

Fixing a Hole:

Definitely a very psychedelic moment here. What a weird and fucked up story, indeed. It’s basically about the narrator, who is surrounded by people just minding his business and concentrating on fixing his hole, not for anyone’s benefit, but his own.

She’s Leaving Home:

This track talks about the growing generation gap back in that decade when children left home in droves. The track is cloaked with angelic string sections that take the edge off how the story speaks from a family point of view about their daughter leaving home, which makes the family broken.

Being for the Benefit of Mr Kite!:

This can only be described as psychedelic rock and classical combined or, metaphorically, like looking through a kaleidoscope and seeing all kinds of beautifully coloured shapes.

Within You Without You:

A track that draws inspiration from traditional Indian music, and it comes as no surprise that it was written by lead guitarist George Harrison who learnt how to play the sitar with the legendary Ravi Shankar.

When I’m Sixty-Four:

Written by bassist Paul McCartney, this song is very much on the charm offensive, which Paul is so adept at. Although he mentions grandchildren called Vera, Chuck and Dave (sounds like something out of Coronation Street, doesn’t it?), he has no grandchildren with those names.

Lovely Rita:

This is about having a crush on a meter maid (Do you have to ask her name?) and drinking tea.

Good Morning Good Morning:

Ah, another song about this particular time of day makes its way onto a Beatles record. We’ve had “Here Comes the Sun” and “Good Day Sunshine”, to name a few. The most bizarre thing that makes this track stand out is a dog barking on the outro. Fuck knows what that has to do with the morning (dog barking at passers-by or the mail delivery person, maybe?).

Sgt.Pepper’s Lonely Hearts Club Band (Reprise):

This can only be described as the calm before the storm finale—very much an interlude section.

A Day in the Life:

Well, it came as no surprise that on a Psychedelic record, the Beatles would close it with a song about drugs that was written, composed and arranged at the height of what was known as the swinging ’60s. Still, the sound and the vision, which are so fantastic and luxurious, doesn’t bind it to its era. Just like the whole record, it has stood the test of time.

Overall:

I am not a fan of the Beatles, although I probably am indirectly as I am of Oasis, who made it no secret that the Beatles inspired them and let’s not forget that I also like playing Beatles on the guitar. I also like hearing Paul McCartney perform live and am a big fan of John Lennon’s solo material. I feel robbed in that; my generation and generations that will follow missed the opportunity to hear what the Beatles would have sounded like with modern technology (If it was anything like Oasis did then, to quote Noel Gallagher, “Fucking mega!”). Maybe then, I would become a fan, but I have seen all their films and appreciate the marker they laid down for the bands that followed them. I respect their work and chief songwriters, Paul McCartney and John Lennon. Despite not being a fan, I really do like this record, and the re-mastering done by Giles Martin (His father, George Martin was the original arranger of the record and did work with the likes of Oasis) does bring this record to life and into the new age. He certainly does his father and the legacy of the Beatles utter justice. I rate this one of my favourite records of all time, and the eccentric sleeve adds to the vibrant nature. Since I was a child, that sleeve stood out to me. Fifty years on from its original release, the record is still talked about in high regard and upon its re-release, it was no surprise that the album utterly destroyed the competition to sit on top of the charts proving that even in the present day, the Beatles still have a seismic fanbase to topple the formidable, Ed Sheeran.

 

9/10