Month: March 2018

Week Thirty-Six: The Script- Freedom Child

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Frontman Danny O’Donoghue and Mark Sheehan have known each other since childhood, so, as you can imagine, history adds to the chemistry before drummer Glen Power was recruited. Still, the harmony was already set in place, so it didn’t cause any problems with him joining and helping the band further find their wall of sound and identity. Quite predictably, the band scored number one with their debut album back in 2008 in mother Ireland, with hits such as “We Cry”, “Breakeven”, “the Man Who Can’t be Moved”, and my favourite off the self-titled debut album, “the End Where I begin” not just capturing the attention of their homeland, but the world over. The style of music they are famed for doesn’t just revolve around one genre, but quite a few blended, which is pop, rock, hip-hop and r&b, and helped with their sophomore album from 2010 titled “Science & Faith, and then their third and fourth albums, “#3” and “No Sound Without Silence” released in 2012 and 2014 respectively.

On their latest record titled, “Freedom Child”, the band have decided to experiment and take up the challenge of adding different sounds to their tracks and choosing to head down the electronic route this time (No, not the band from the 1990s co-fronted by Bernard Sumner and Johnny Marr). So, after the band took a short break from the scene, have they become rusty, and does this new direction to their sound work for them, or is it a gamble that didn’t pay off?

The record takes no prisoners and is honest, noble and positive. Of course, you are wondering if there is the trademark originality that we’ve become accustomed to with their sound, and the answer is, yes, it is still there but with electronic pop blended into it. Will you love it or hate it being a fan of theirs? Well, it is like marmite, so the choice is entirely yours. Give it a chance, though, because it is still an excellent record, and the message conveyed within the record is their usual love over hate.

The intro is very refreshing indeed. Almost like the band were recording on a cassette recorder as you hear the tape being into the player, and then a bass riff that becomes lodged into your head follows. The record then starts with “No Man is an Island”. A third-person perspective tells the band that regardless of how they feel, he/she is there to help them through. It is noticeable that Danny’s vocals have matured and improved since the previous records as he sings along with the electronic reggae sound.

The next track I will talk about is “Arms Open”, your more traditional song for the Script, where the stripped-back sounds elevate Danny’s vocals while the listener can relax and feel at one with themselves.

I also liked the catchy “Deliverance”, a Sonic Youth-type song with pop added in. It is highly bass-heavy, but it has a fast tempo to capture your soul and make you feel the music instead of losing interest. I also loved the political messages conveyed in this record. Especially the track “Divided States of America”. The name even screams political and controversial as you know, it will be aimed at the current president, Donald Trump. This track encourages everyone in the States to notice what is happening and unite during these times rather than fight against each other. 

The sound used is entirely military-minded as Danny sings over drums that resemble a marching beat you hear at military parades worldwide. He may talk about violence, hate, racism, et cetera on this track, but the ultimate message conveyed to the listener says, “You better reconcile before it is too late, and we become consumed by hate that ultimately end with war and death”.

“Written in the Scars” is an intense track and talks about all the times Danny has been hurt over gently plucked guitar strings that further add to the effect of the subject. The song leaves you with a sense that we should wear our battle scars with pride and how they have shaped us through the years to grow stronger and overcome whatever caused the wounds in the first place. Although a deep track, it is worth noting that Danny sings confidently about the matter. 

This is the standout track on the 14-track album for that very reason. Some of us who have listened to the record might not necessarily live in America (Referring to “Divided States of America”), but we all carry scars from events in our lives that are lessons of life that help us get more robust and wiser when they start to heal. A very sobering track, but a message we can all relate to.

The penultimate track is “Awakening”, which is an interlude with angelic piano sounds that leads you into the closing track, which is also the title track (I’m not even going to divulge what it is called. You should already know if you have been paying attention.), which is kind of like a mantra to remind you to be free, love rather than hate, and always to dream and block out the white noise that surrounds us in everyday life—a very uplifting message to end a very upbeat record.

My only real qualm with “Freedom Child” is that some of the songs could have spent more time in the studio being fine-tuned. Also, only half the album captures your attention, despite the lyrical content and the issues grabbing hold of you. The record as a whole is inspirational and full of honesty rather than being blinded by ignorance, which so many sadly in this world would instead be consumed by, rather than being awake to what is happening. Although I have said that only half the album is worth listening to, several tracks in this review that I have mentioned will capture you and render this album worth a listen and a gamble that has paid off sonically for the band.

8/10

Week Thirty-Five: Queens of the Stone Age- Villains

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Well, We all know from his time with Polly Jean Harvey co-fronting Desert Sessions that guitarist and frontman Josh Homme likes to dress snappily and sport a quiffed hairstyle ( He dressed similarly while being part of Iggy Pop’s band in recent years.) as well as adding a dance element to his sound, and that is what the seventh instalment by Queens of the Stone Age offers in abundance. A far cry, you might say, from songs like “No One Knows” and “the Lost Art of Keeping a Secret”.

You might recall that the band’s last record titled “Like Clockwork” included collaborations with several well-respected musicians, for example, Alex Turner from Arctic Monkeys (Josh coincidentally produced “AM” for Arctic Monkeys.), but this time there are no collaborations, but there is on the production of the record in the shape of Mark Ronson. 

Mark, as you may well know, has produced for the likes of Amy Winehouse and Bruno Mars (Actually, the list of artists he has produced for is fucking monumental. I would be here for ages writing it out.) and was singled out by Josh for “Villains” after he heard “Uptown Funk”, and Josh decided that was the kind of sound he wanted on the record.

I know what you’re thinking. Surely the hardcore fans of Queens of the Stone Age will recoil in horror at the fact that Mark, known for his catchy radio-friendly pop songs, is the producer of their latest record and will saturate their sound. 

Well, not really. Although Mark is on production, this is still the same rock band with attitude that caused a sandstorm as they made their way out of Palm Desert, California, in 1998 after renaming themselves as Queens of the Stone Age (Previously Gamma Ray.) with their self-titled debut album a mere two years after their formation. “Feet Don’t Fail Me” is proof of this. The track starts off with a moody sound for almost two minutes before bursting into vivid life. The moody intros also continue on tracks like “The Way You Used to Do” and “Head Like a Haunted House”, with the latter resembling glam-rock out of the 1970s that It sounds very much like something T-Rex would have done if they were still around today. There are also serene moments on the record, notably with “Hideaway” and “Fortress”, which you might say could be known as stoner rock, but don’t let that fool you. This is still a Queens of the Stone Age record that will make you move your feet and hips on the dance floor.

In a way, this record offers hope and defiance and celebrates all the great moments in life. Especially as you consider that Josh wrote this record after another band he is in called Eagles of Death Metal, was involved in a horrendous terror attack at Le Bataclan, Paris, France, back in 2015, just over a week after appearing on the newly resurrected 90s TV classic chat and music show, Thank Four It’s Friday (TFI Friday) in London, England (Josh was not present on tour at the time, I think due to feeling unwell.). He doesn’t directly address the terrible event on the record, but it does have a “Fuck the terrorists. We are going to live in the moment and have a fucking good time instead of hiding away and living in fear” feel to it. 

Josh has always maintained that he doesn’t like to get political, and the music is to escape from the real world, which is often dark. This record is the definition of that, and we are all here for a fucking good time, and we will embrace it no matter what. For that, I doff my cap to them for talking about the celebration of life. I know it could be seen as artificial, but now and again, we need records that will lift our spirits in such bleak times.

9/10

Week Thirty-One: Arcade Fire- Everything Now

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Everything_Now(Continued):

An exciting start to the record. This is more of a short intro as it only lasts for under a minute and is sombre-sounding. Why the title has an underscore? I haven’t got the faintest clue. Arcade Fire may be asked about it during an interview.

Everything Now:

I know the first track was called the same name with the “Continued” added (Not forgetting the odd underscore.), but this is the title track and the official start of the record, if you will. The lyrics, “Every inch of sky’s got a star, every inch of skin’s got a scar”, certainly jumped out at Me. Yes, the track is quite upbeat, but the lyrics that encase it are cynical. The song may be positive, as mentioned, and the lyrics profound, but the message contradicts the joyful sound with lyrics like, “Every time you smile it’s a fake” and “Stop pretending you’ve got everything now”. It is attacking the dreamers who have yet to achieve their goals in life. The most bizarre thing is that we have a Coldplay-esque sound going on with the piano, strings and a choir, which works quite well, and it’s catchy as fuck.

Signs of Life:

Well, this is very controversial, to say the least, with its sexist views. The story told in this song is about a man who stays out late every night drinking. He thinks that “Love is hard, sex is easy”, as mentioned within the lyrics showing that he would rather shag every woman that comes his way and objectifies them than go through all the hassle of love because he just can’t be bothered with it. There’s a Star Trek/Austin Powers seductive bassline to further add to the effect of the theme, though towards the end, the song goes rather odd as you get some Michael Jackson-inspired instrumental.

Creature Comfort:

Another very dark track is evidenced in these two lyrics, “Some boys hate themselves, spend their lives resenting their fathers” and “Some girls hate themselves, stand in the mirror and wait for the feedback”, all delivered by Win Butler with a raging yet melancholic vocal. This could also be about Win recalling the days when he was bullied at school, and he is drawing on his own experiences with the delivery and the lyrics chosen. Both of these lyrics reflect society and are quite philosophical at the same time. I’ve heard listeners saying they are not fond of this track because it is nothing but patronising as Arcade Fire is wealthy enough not to be concerned with any of the subjects they talk about, but it’s a good track, so I don’t care what they think.

Peter Pan:

Well, just like the theme, the music that accompanies the song is very Disney-esque. It would have been great if Arcade Fire had been around when Peter Pan was first released because the music would have fitted the film perfectly. Win also has been a fan of the film and the book since childhood. He even drops in the twee line, “Be My Wendy, I’ll be your Peter Pan”. This song is also about the innocence of youth and being carefree, which we all crave as we get older because, in Never Never Land, we are wrapped in a safety blanket from all the bullshit we eventually have to face after childhood.

Chemistry:

Different from the Semisonic track with the same name. Again, minus the creepy lyrics, this song would be suitable for a children’s television programme with its pop reggae.

Infinite Content:

This would be the name used for the current tour. I didn’t think much of this track. It is very short and seems like an interlude.

Infinite_Content:

Okay. The same song title as the preceding track, but with an underscore (Why???). Again, not much effort has been put into this track. Either Win ran out of subjects to discuss when this was being recorded in the studio, or he couldn’t get any lyrics to fit around the music. Either way, it feels like another interlude.

Electric Blue:

A track that seems like a nod to the late Prince (Or symbol or whatever you want to call him. I prefer Legend.) Why? Well, with lyrics like, “Cover my eyes electric blue, every single night I dream about you”, you can hear Prince writing a song like this, and the whole feel of the track is very Prince-esque.

Good God Damn:

The riff is a bit of eerie disco. The lyrics suggest this song could be about relaxation, where we feel most relaxed when listening to our favourite record in the bath.

Put Your Money on Me:

I enjoyed this song live. Even though it is over six minutes, it works well live, but on the record? It may be too long.

We Don’t Deserve Love:

Another cracking song played live with Win and his wife Régine complimenting each other well. This track is a bit heavy with its religious undertones and your mother lecturing about the mechanics of love and how you don’t deserve it.

Everything Now (Continued):

It’s just what it is, an outro with an easy-listening string section to close out the record. This track is nearly two minutes and thirty seconds longer than the intro.

Overall:

Hmmm, well, I did enjoy the record, but I prefer hearing the band live. Arcade Fire has it when they play live, but I need clarification on the studio-recorded material. It can be pretty condescending, sexist (Which is bizarre considering there is a lady in the band, and that’s Win’s wife Régine) and heavy-handed with subjects of suicide, cynicism and religion. But that is the world we live in, and we should respect Arcade Fire for not being fake and addressing such sobering issues. Like Muse, though, I feel that Arcade Fire save their best for the stage. It’s quite a shame, as I was looking forward to reviewing this record, but I have been disappointed. If I did live reviews, then Arcade Fire’s review would be stellar.

7/10

Week Thirty: Lana Del Rey- Lust for Life

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Since Lana burst onto the scene back in 2012 with her second album, “Born to Die”(As this is the album that made her.), with her baroque pop that was somehow mainstream friendly, she has managed to be on both sides of the establishment vs anti-establishment wall. Blending both pop and indie with such little effort and controversy. She is also something of an enigma, yet very accessible as well.

Lana Del Rey released her self-titled debut album with her alias included on the cover (Lizzy Grant.), which is her real name, Elizabeth Woolridge Grant, which a wealthy family raised in the city of New York (Lake Placid to be exact). Anyway, enough of the history lesson and back to the review. Lana didn’t make an impact in the UK until “Video Games” after She uploaded videos on Youtube of that song and “Blue Jeans”, which would feature on her forthcoming album, “Born to Die”, the following year. Those videos also would be the template for how Lana would be sonically from there on in. The sound would hark back to the early 1990s trip-hop, laced with her soulful vocals.

She hasn’t changed sonically nor lyrically with her fifth album, “Lust For Life”, yet this record is her best since her breakthrough, “Born to Die”. There are many featured artists on this 71-minute, 16-song tracklist. Some I have never heard of, and other artists like rapper A$AP Rocky, who I think are shit and are not fit enough to touch 2Pac’s mike stand, let alone his microphone. Another rapper, Playboi Carti, also features, and then we have the likes of Fleetwood Mac’s, Stevie Nicks and the son of John Lennon and Yoko Ono, Sean Ono Lennon (The lesser known of the Brothers.). And let’s remember the very talented rnb artist, The Weeknd.

So, with such a long guest list, does the record deliver? From the opening track, “Love”, I would say that it does. It starts off very moody before building into a majestic chorus with consummate ease, a hook that gets stuck into your head. This theme continues on the title track featuring The Weeknd. Expect provocative lyrics on the title track, but if you have seen some of her videos, you should know what to expect.

The standout track has to be “When the World Was at War We Kept Dancing”, which is a politically charged song about how to deal with and live your life in America under the presidential rule of Donald Trump, which has brought with it plenty of controversy with sexism, fascism and pro-NRA baggage. This has to be the best song Lana has written for its theme and the message conveyed within the lyrics. I like very conscious lyrics, so this song jumps out at me. The political theme continues with “God Bless America (And All the Beautiful Women in It)”, which attacks the Republican government on their views of women’s rights in the country. Again, I was very impressed with the conscious lyrics and had even more respect for Lana for daring to challenge the establishment. Such subjects can make record companies recoil in horror, but more power to Lana for going against the grain.

Some might moan about her collaboration with Sean Ono Lennon on “Tomorrow Never Came”, saying it sounds too much like the Beatles or Bob Dylan, but I like this. Unfortunately, just like his brother Julian, Sean sounds precisely like his father John, which certainly didn’t help Julian on his musical quest (Whether it’ll help Sean remains to be seen.). Therefore, many might be disappointed with this track, but I couldn’t care less if Sean sounds like his dad. If anything, it’s a reminder of what John would sound like in the modern era with modern technology, so think of it that way, and I’m sure you’ll enjoy it rather than throw criticism at it; plus, you have the Dylan-esque aura on the song. 

The most disappointing track on the record has to be “Beautiful People, Beautiful Problems”, which is a shame as it has Stevie Nicks on it. Still, the track seems like Lana’s momentarily lapse in creativity or just a filler to make up the tracklisting. It’s such a shame that the track turned out that way, as Stevie’s contribution is monumental, as you can imagine.

The record has a strong ending with “Muted Heroin”, a piano ballad leading into the final track, “Get Free”, where there are some very poetically beautiful lyrics about crossing over from the ordinary world into your heart. This is a good album that could have reached monumental status with some tweaking here and there, but this is her best album since “Born to Die”, which keeps her legacy very much intact. Although I would still rank “Born to Die” above this and any other of her records, yes “, Lust for Life” (Inspired by Iggy Pop? I don’t know.) does deliver.

8/10