Month: August 2021

Week 34: the Killers- Pressure Machine

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Well, there’s no need to do a brief introduction on this Californian band. I have already reviewed their previous two albums, which I immensely enjoyed. However, their third record since 2017 has left me somewhat cold. It is in the same vein as “Sam’s Town”. It’s less of an album and more of a short story set to music. What exactly do I mean? It’s on novels by Steinbeck and Sherwood Anderson (If you know your books, they will sound familiar to you. However, I only read autobiographies as fiction bores me.) The record celebrates working-class America in the small towns and their fight against capitalism that is destroying their resources piece by piece. 

It’s weird when the band is from a big city on the West Coast riddled with celebrity and materialism. The lyrics detail America’s small towns soberly against a backdrop of country music. Indeed, it’s not a typical record by the band. When you think of the Killers, your go-to is synths and guitars. In some ways, the band must be applauded for calling out the capitalists for how they are killing the small towns. Seeing music ready to call out those who deserve to be named and shamed is always refreshing. I love the arts because they were built on anti-establishmentarianism and give a voice to the oppressed.

Am I contradicting myself? Maybe a little bit. I wasn’t a fan of the slow tempo and melancholic melodies you would associate with Brandon’s heroes, the Smiths, but the lyrics are lovely and thought-provoking. It isn’t always about the music. Sometimes, it’s about the topics, lyrical content or a combination of all three factors. 

“Pressure Machine” will probably not be well received by the casual listener of the band like myself. Still, I can imagine the hardcore element will find this newish approach just another side of the Killers. It’s not an album that will be “trendy”. Fair play to them for going in-depth on the plight of the working class in America and feeling passionately enough to go against the grain and make music with it. 

When you listen to the lyrics, they don’t jump at you in the form of a song, but more like you were reading poetry. I have heard some describe “Pressure Machine” as quite “catchy”, but honestly, I didn’t sense what the Killers are known for. No hooks and no catchy choruses. To be brutally blunt, I found myself drifting off when listening. It certainly isn’t going to increase their fan base, but what it lacks sonically, it makes up for with the lyrics and the topic. I struggled with song recommendations, but fear not; I did manage to compile the usual three.

Song recommendations: ‘West Hills’, ‘Runaway Horses’, ‘Pressure Machine’

6/10

Week 33: Will Young- Crying on the Bathroom Floor

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Will Young was first discovered after appearing on ITV’s music talent show, Pop Idol, in 2002(2001?), where he came up head-to-head with the red-hot favourite Gareth Gates. Both performed versions of ‘Evergreen’, which the lucky winner would have released as their debut single. Surprisingly, Will won, and one newspaper did a mock story of how his life would pan out. They said he would have many children with Katie Price…well, he came out as gay not long after winning the show to squash any chance of a rumour circulating. In 2016, he performed at Victorious Festival in Portsmouth, where I happened to be, but Keano and I decided to explore other stages and food stalls before returning to the main stage, so I have yet to see him live in person. Will has had a more successful career than anyone off of those talent shows from these shores. Not only does Will perform his own songs, but he has written for others. Indeed, Will disappeared from the limelight for four years but still worked away in the background writing for others.

So, the premise for this latest album was to cover well-known songs but make them more radio-friendly. I am saying something other than the majority already are not, but Will, as proven on the record, would do precisely that. 

Another unique twist on doing the covers is that every song is by a female artist or a band fronted by a female. This is a nice touch by Will when you consider only 19 per cent of females featured in the UK album charts last year. His songs are the artists/bands’ most popular and highest charted. However, the songs still needed to reach the acme of their respective singles charts. Can Will Young’s versions glean a top spot? Possibly.

I loved the opening track because I was a big fan of the song by Bat for Lashes called ‘Daniel’. I didn’t know that the album was full of covers, so the opening track took me by surprise, but I loved his gentler version of ‘Daniel’ with its acoustic guitar and soft vocals—nothing like Natasha Khan’s more indie-based original. The next track I will praise is ‘Losing You’, originally by Solange Knowles, the sister of the infamous former Destiny’s Child member and now successful solo artist Beyoncé. I have always preferred Solange and feel she is often overlooked due to her sibling. 

Will’s is more mellow and departs from the original R&B version. The final track singled out for praise is ‘Strong’. Again, Will brings originality to his version and is more piano-based than London Grammar’s. Of course, there are 13 other covers on the record, with an Annie Lennox-esque touch on MUNA’s, ‘Crying on the Bathroom Floor’, and a harmonic and piano hook to Everything but the Girl’s, ‘Missing’. These are, for the main, the standout tracks on the album.

This record was beautiful when I had to endure Billie Eilish’s lack of imagination album last week. Will has done justice to the original versions. Some might say he has bettered them, but that’s going a bit too far because the originals have stood the test of time and are anthems in their own right. Will’s versions are far more reflective and emotional, and as I said, it was wonderful to listen to this album. And Will deserves all the plaudits coming his way for it.

Song recommendations: ‘Daniel’, ‘Losing You’, ‘Strong’

9/10 

Week 32: Billie Eilish- Happier than Ever

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This has been the female vocalist of the moment since 2017 (I think), and she has a cracking middle name with Pirate (I am not even joking! Look it up!). I first heard of Billie through Twitter but gave her a listen after some festival I happened to be watching. Two years later, she released her debut, “When We All Fall Asleep, Where Do We Go?”. Of course, a lot has happened since then. Billie is almost 20, and she is coming to terms with people body-shaming her, being chatted up by musicians old enough to be her father, and coming to terms with her public status. It is evident in her sophomore album. Whereas her debut had more rebellion, “Happier than Ever” is reflective and downtempo. 

Now, I am going to be honest with you. Her brother Finneas is more talented and has written some great songs with his sister and as a solo artist. He is also a multi-instrumentalist, which always scores high with me regarding talent and songwriting. I spent most of my time zoning out when listening to this (I don’t fucking care if her pathetic little army comes after me for this. Fuck you, you little fucking idiots.), and her vocals aren’t that unique. She is a cross between Lorde and Lana Del Rey. When I first heard her after all the hyperbole, I thought, “Where have I heard that voice before?”. Granted, her genre choices differ from the other two, but you can hear them coming through. Every song fell into the next one, and I don’t mean regarding a theme. They all sounded the same. I didn’t hear much diversity in the delivery. Even on the rockier song (I think it was ‘Male Fantasy’? I can’t recall. I listened to the record two weeks ago and tried to figure out how to describe what I heard.). Do I have any song recommendations? Surprisingly, yes, but my God…the album just underwhelmed me. It only got to the top spot because of who she is. Here’s hoping her third record will be an improvement.

4/10

Song recommendations: ‘Male Fantasy’, ‘I Didn’t Change My Number’, ‘Therefore I am.’

Week 31: Dave- We’re All Alone in This Together

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Another artist I saw on Later…with Jools Holland, but that caught my eye more than usual. Dave is a rapper and a spoken word artist, which is what I happen to do. These kinds of artists are rare to see on mainstream television, so I was delighted to see him on there. He and George the Poet have been the best-spoken word artists on the show of late. I was also very encouraged when Dave’s debut album hit the top spot because it meant that spoken word now had a platform for bigger and better things, rather than just medium-sized venues with modest audiences. 

Moreover, his debut album, PSYCHODRAMA, earned a Hyundai Mercury Prize in 2019—an incredible achievement for a spoken word artist. Could Dave better that this time around? That’s a hard act to follow. I am pleased to inform you that Dave didn’t fall under the immense pressure bestowed on him. This record isn’t just for those who understand the struggle; there is also a universal message. Dave often goes after the Conservative and Unionist Party and its current and former leaders. From immigration, racism, and the Windrush scandal. Indeed, Dave talks about being raised in London, proud of his Nigerian roots, and paying homage to his ancestors. I love how Dave is fearless in addressing the history of Britain that is seldom spoken about in schools. It is a shame it isn’t because it isn’t as pretty as Dave paints for you on the album. Indeed, he does a track with Stormzy where they call out the state of Britain since leaving the European Union and the failings of the current government. They also have “Jeremy Corbyn won” in the chorus, supporting the former Labour Party leader and making it clear that he would have been the better choice in their opinion.

‘In the Fire’ features Giggs and Ghetts over a gospel beat. He then talks about the Windrush generation on ‘Three Rivers’ and how they are now being mistreated by the country that they have contributed heavily to and done a lot of good for Britain but are currently being treated like shit due to racism peddled in the right-wing press. However, my favourite is the longest track on the album, ‘Heart Attack’. Dave addresses knife crime, racism, and how the metropolitan police profile certain people. 

Indeed, Dave says Scarface and its lead character Tony Montana are praised because he is white. Still, when it comes to a black individual depicting a similar role in a film, the press says how appalling it is and glorifies violence. I loved this outlook by the man known as Santan Dave, and unfortunately, it is true. It is always films with black individuals that get the bad press. Indeed, this is reflected in the aftermath of Marcus Rashford, Jadon Sancho, and Bukayo Saka missing penalties for England in the recent European Championship final against Italy. All three were racially abused and received death threats for being human. To my horror, I saw an online poster calling for all white people to “Attack a Black” the following day. It was worse than that, but you don’t need to be a genius to work out what the poster said. There was a points system as well for the forms of attack. It is fucking abhorrent that this shit still goes on and that after a specific referendum in 2016, it has emboldened racists to now do it with minor consequences. Just look at the fucking right-wing twats who are currently on television. It is disgusting. We all live under the same sky and should try to get along with each other regardless of our skin colour or religion.

Dave closes the record on a reflective note about how he has let himself and others down with his past behaviour on ‘Survivor’s Guilt’. Dave acknowledges that the press has highlighted his actions outwith his music and that he will learn from his past mistakes and become a better role model and better to Black women. This album is brilliant, and I loved how he didn’t hold back over several issues that need a light shone upon them. Look for “We’re All Alone in This Together” among the Hyundai Mercury Prize 2021 nominees. This is better than PSYCHODRAMA.

Song recommendations: ‘Heart Attack’, ‘Three Rivers’, ‘Survivor’s Guilt’

9/10

Week 30: KSI- All Over the Place

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Ahhhh KSI. I remember being introduced to his uploads on YouTube of playing FIFA with the who’s who of the grime industry. Especially JME. If you don’t know, JME was a colossal gamer once. He might still be, but he now has a child, so his time is shared. After all the gaming sessions, next, it was KSI doing challenges, and one of them was with the London Irish Exiles side of 2015/16, who put him through his paces and quite frankly battered him all over Hazelwood. I then saw he had released a book in 2017 or 2018, I can’t remember exactly, which I found absurd, and then he went into Boxing, albeit the circus act that is celebrity charity boxing. He thinks he has a chance at a professional level, but I fear he would get seriously hurt as it’s a different level of competition, and the professionals won’t hold back. Even journeymen could pick up a rare and easy win against the likes of KSI and the Paul brothers( One of the fucking idiots is wanking about going the distance with a half-interested Floyd Mayweather Jr. Make no mistake, if it were a serious bout, Floyd would have done some severe damage.)and seriously hurt them in the process.

Anyway, onto KSI’s album with a bonus instrumental disc (My favourite part, to be honest.)I liked five tracks out of sixteen—an abysmal return when you think about it. KSI seems to want to use artists who have a penchant for that shitty autotune software. KSI is also guilty of using it for a considerable part of the record. I refuse to listen to any songs that contain this piece of shit software that has ruined many, many songs since 2010 onwards. I liked ‘Really Love’ featuring Craig David and Digital Farm Animals using the sample of DJ Pied Piper ft the Master of Ceremonies’ garage 2001 classic ‘Do You Really Like it?’ He also did another garage track with Anne-Marie but spoiled it with that software, which was a shame because I liked the beat. ‘Rent Free’ with Gracey was also good. ‘Madness’ had excellent lyrical content. ‘Silly’ ft Bugzy Malone was good for Bugzy’s bars alone, and ‘Swerve’ with Jay1 was another superb track. I found his egotistical lyrics about his rise to fame quite repulsive. Especially what he said about his “Boxing skills”. Sorry, geezer, but don’t turn professional. I say the same to the Paul brothers. You will all get seriously hurt. Real boxing isn’t a joke, nor is it the circus you guys compete in.

I am also really pissed off with these novelty acts that the majors like to sign. Remind me where that Justin Bieber lookalike Alex is now? It’s all good jumping on stage with Dave and barring his verse perfectly; it’s another to go to the studio and write and record your own material. I heard his album flopped and got nowhere, and to be honest, it wasn’t a surprise to hear that. KSI is better than Alex, but that’s why he was signed due to his status. The majors are really taking the piss now by signing these “happening” stars. Real musicians deserve the bread over these kinds of acts. They work their arses off to get signed.

Song recommendations: ‘Really Love’, ‘Silly’, ‘Madness’

5/10