Month: May 2022

Week 18: Blossoms- Ribbon Around the Bomb

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The title of their fourth album is based on the character “the Writer”, created by the late artist Frida Kahlo, so you might say that Coldplay has inspired the band as they used a title inspired by her. 


As I mentioned in the previous paragraph, this is the band’s fourth album, but over six years, showing that the band is eager to release albums regularly. As you may recall, I reviewed their previous record, ‘Foolish Loving Spaces’, in 2020 (I think). They put out shoegaze music that somehow sounds in the now. Remember that they managed to sell out small venues before they were signed, which is some achievement. Unlike most shoegaze bands, they sound entirely different from Slowdive and Ride.


As usual, the band sticks to what they know. Why would they take risks with the following they have garnered and the sound being so booming? They are still selling out venues on tour. I am sure they will eventually, but it doesn’t matter because no one is bored of their sound. “Ribbon Around the Bomb” starts and ends with short instrumentals, which, as you know, are a waste of time. My favourite has to be ‘the Sulking Poet’, especially the piano version on the bonus disc. There’s something beautiful about hearing it stripped back with Tom’s delicate vocals and the catchy hook: ‘Ooh la la, ooh la la, ooh la la Juliet’. You think, “What the fuck?” but it sucks you in, and trust me, it doesn’t leave your head for quite a while after. 


It is Tom’s vocals that make the album. Most of the album is layered with strings, guitar over synths, and Tom’s delicate vocals. I cannot recall when he used any form of aggression, which makes the record a blissful listen.

Unlike their previous three records, one noticeable thing is that the standouts are not found in the singles. For example, ‘Born Wild’ and ‘Cinerama Holy Days’ are songs you would find on a single’s b-side, and they might be in the future. They are light and dreamy. ‘Everything About You’ is clearly about Tom’s girlfriend, who I believe is the sister of one of his fellow band members. I remember seeing a documentary recently about them playing at Stockport County’s ground, which was mentioned. ‘Visions’ is the longest track on the album, seven minutes long, where Tom talks about how he has changed from a youngster with a devil-may-care attitude into a mature husband. It makes the previous sentence redundant now.


If you are a fan of Blossoms like I have been since I heard ‘Charlemagne’ and happen to see them support the Stone Roses at EE Wembley, then the way this record sounds makes no difference, nor do I feel the band wanted your perception of them to alter. It is a quintessential Blossoms album. However, I preferred the bonus disc, ten songs stripped back with Tom’s delicate vocals accompanying the piano.


Song recommendations: ‘the Sulking Poet’, ‘Cinerama Holy Days’, ‘Visions’


7/10

Week 17: Fontaines D.C.- Skinty Fia

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As you might recall, I wrote a review of their second album, “A Hero’s Death”, by accident. As you know, I write a review for the number one album each week or whenever a new one is on the top spot. Well, this particular week back in 2020, the Irish band were on course for the top spot, but the previous number one held them off. However, I wrote a review on “A Hero’s Death” because it was more or less certain on the back of this information. I listened to the record, wrote my review a day later, and uploaded it the following day. It’s nice to know I will not need to do a bit of background to introduce you to the lads from Dublin. I will, though, do something I have yet to do so far.

As you know, I have done track-by-track reviews, summary track-by-track reviews, and plain old, elongated reviews. I will do essential track reviews on the tracks I enjoyed this time. The album consists of ten tracks. I will write a review, long or short, on the highlights of “Skinty Fia”:

In ár gCroíthe go deo: 

This track opens the album and translates as “In Our Hearts Forever”. It’s nice to see some Gaeilge used by a band, particularly from Ireland. It has been a while since I’ve seen Gaeilge used by Irish bands, unless it is Clannad or the like. This song is steeped in Irish history—the song protests against the English who invaded Ireland 800 or more years ago. The band’s instrumentalists provide backing vocals, repeating the track title repeatedly as Grian enters over a glum and sinister bassline. The song is based on the event of Maggie Keane, who wanted a Celtic cross with the track name inscribed on the headstone. However, the occupying British Army brought the Church of England over, which denied Maggie’s request. Their reason is that the message was written in the native language, which would lead to political connotations. Despite this, the Irish courts ruled in favour of Maggie’s family. The band felt the song epitomises how the natives still need to fight for their identity. From the outset, the band have decided to go political. If that makes some of you uncomfortable because they want to talk about the occupation of Ireland, then stop reading this review and give the album a miss. 


Big Shot:


As you may well know, the Dubliners have moved across the sea to London, and this song reflects that. Whereas Dublin still has opportunities to expand, the band’s move to London has opened up more avenues than were on offer back in their native Dublin. The band can pursue their dream of being the best by moving across the sea. For example, look at some of these lyrics: “I travelled to Space”, found the moon too small, and home is a pin, rusting through a map, I go there to pray, do my resting at mass”. What Grian is saying, from what I can decipher, is that they have travelled around Ireland, but it isn’t enough to achieve their dream. Despite being a big city, Dublin is nothing compared to the other cities they have played in worldwide. They only return to Dublin when there is a break during touring (Or the tour has ended.) and attend mass. The last line, I believe to be they only have time to reflect and relax away from music when they go to mass (I am also Catholic like the lads, and you feel far from relaxed at mass. It feels like you are in the dock listening to a judge telling you how guilty you are.)


Jackie Down the Line: 


Another political track. I will explain why briefly, but this song is the opposite of ‘Big Shot’. The band talks about why they are proud to be from Dublin (In the title sense, at least.). The song has an Indie 90s feel to it. “Jackie” is a variation of “Jackeen”. This is a derogatory term used by people outwith of Dublin. A Jackeen is someone who has become an “Irish Brit”. They have embraced the British culture and have become flag-wavers of the Union Jack. I first heard this track on the Late Late Show with Jimmy Fallon. It featured a steady drumbeat, acoustic guitar, and a reverb effect on Conor Curley’s electric guitar—a method used by his counterpart Edge from U2. The song talks about a woman named Sally, a toxic male killed. I haven’t looked into the case, but it highlights that there is still this problem of men attacking women in Ireland. Indeed, Grian’s vocals are melancholic. You can hear his soul slide away during the verses as he foretells the fable.


I Love You: 


So far, I haven’t heard anything like the punk-infused songs I had heard on their previous albums, and this track was no different. This time, the band took influences from Joy Division, New Order, and the Cure. It reminded me of a darker version of ‘Blue Monday’. Why? It wasn’t quite a dance track but had that Peter Hook bassline. I am sure I have seen Deego sporting a t-shirt of all the bands before now. So, it is no surprise he has added Peter Hook and Simon Gallup basslines. The subject revolves around the Irish youth, how they are shackled by capitalism and religion, how the lockdown has affected their well-being and the sinking feeling of what the future holds. At the same time, while trapped in this current situation. Grian’s delivery is spot-on for the subject. He delivers the vocals with ferocious anger as he addresses the issues and describes how he felt growing up in that situation.


Bloomsday: 


It leads off from ‘I Love You’ because it, too, is dark. This time, however, it goes even more profound and sinister. Again, over this gloomy instrumentation, Grian’s delivery is perfect. His lyrics sound like a man talking with a soft and melancholic tone. Again, Grian highlights the lack of hope for the youth in Ireland, particularly in his native Dublin.


Skinty Fia:


 As you can tell by the name, this is the title track. Does it move away from the previous two songs about Dublin? The answer is no. The song can be described as darkwave over a low bassline as Grian talks about Dublin’s shortcomings.


Roman Holiday: 


Unlike, let’s call it the Doomed Dublin trilogy, this song is more upbeat and has a message of hope. Once again, the guitar effect Edge uses is utilised by Curley over a stark bassline and fragmented percussion. The song is quite apt with the current war in Eastern Europe. It is about a couple moving to Dublin who can be welcomed and make it their home, which Ukrainian refugees have been doing in Dublin and all over Europe. Even though you are not from Ireland, you can still embrace it and have an Irish heart. I first heard this at Alexandra Palace on the current tour.


the Couple Across the Way: 


In one of the quieter moments on the record, Grian sings alone, accompanied by an accordion and piano. Grian tells the story of looking out of his window and narrating a typical day in the life of his neighbours adjacent. He has never spoken to them to find out their names or interests. He observes them argue, make up, and repeat the cycle daily. He opts to assume the role of one half of the couple as the song nears the end and the story becomes more straightforward.


Nabokov: 

The album closer has a Verve air about it. Like the Verve, the track is melancholic, but Fontaines DC adds a fast tempo, whereas the Verve would opt for a plodding one. For those of you who are learned readers, you would have probably detected the song title is by a novelist, and just like in one of Nabokov’s books, the character in the track depicts that of Lolita—a lady who no longer feels optimistic and is fed up with being downtrodden. The only way out of the situation to end the pain is to take her own life. That sentiment is expressed in the lyrics “I did you a favour, I bled myself dry, ” as Grian delivers it, seemingly depicting the character screaming angrily. Some might say it is a dark and sinister way to close out, but the band have never been one to abide by the laws. They have always gone against the grain and diced with danger, which has worked since they started playing. Unlike “Dogrel” and “A Hero’s Death”, “Skinty Fia” has been sobering to listen to, and the subjects on offer invoke all the emotions we feel. The record also goes deep into our imaginations.


Song recommendations: ‘Jackie Down the Line’, ‘the Couple Across the Way’, ‘Roman Holiday’


9/10

Week 16: Digga D- Naughty by Nature

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This is going to be a concise review, I’m afraid. I listened to the Drill artist from London but was left unimpressed, as with most of Drill. Not long ago, I sang Central Cee’s praises, who is also a Drill MC, but whereas he adapted, Digga D still needs to (yet.). Most of the songs are ultra-violent and talk about the usual shit you hear in Drill—an MC wanting to shoot, stab, rob, and kill. Only two tracks had any actual storyline behind them. They were ‘Statement’, where he says he will be better than Dave, and Stormzy, and ‘Hold it Down’, where the sample is 50 Cent’s ’21 Questions’. Apart from that, it isn’t worth a listen. Therefore, I will not give it a rating.

Week 15: Wet Leg- Wet Leg

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Yes, I know it is yet another cliché moment. I DID discover Wet Leg while watching Later…with Jools Holland in November last year. 

They performed their famous hit ‘Chaise Longue’, which I found extremely funny for its lyrical content, but I also loved its raw, punky sound, and the ladies singing had those typical punk vocals.

The duo hails from the Isle of Wight and consists of Rhian Teasdale and Hester Chambers. Of course, other members feature on the album, but they are regarded as session musicians and touring members. 

Going back to ‘Chaise Longue’, it was refreshing to hear a track that wasn’t by some fucking idiot who has no business in music just because their song went viral on TikTok because of some shit dance craze. ‘Chaise Longue’ is known for its bassline and guitar riffs instrumental-wise, but the lyrics are delivered with deadpan by leading vocalist and guitarist Rhian taking quotes from the film Mean Girls. Like I said earlier, I found some of the lyrics quite funny, especially the one about going to school and not learning anything but having sex (Listen to the song. You know what I mean.). The chorus wasn’t that great, with “On the Chaise Longue” repeated throughout, but somehow, it becomes a catchy hook that adds to the track.

I then listened to the band via live performances on YouTube during the earlier part of this year, and I was highly impressed by what I heard. The songs are short, but whereas some might describe them as Indie, they have more of the punk spirit. Funnily enough, I felt like I was listening to Amyl and the Sniffers sans the Australian accents.

I saw a tweet from the duo saying their self-titled debut was about to go to number one, and I was delighted to hear what the album sounded like. Unfortunately, I didn’t have to listen much because I had already heard the songs featured on their promotional tour. However, I checked out the streaming figures on Spotify and was amazed that they had amassed 13 million streams! I could not believe just how widespread this duo was when most of the videos on YouTube were them playing in dinghy bars and pubs. Although they have yet to do any significant events or play at big venues, they have done the Late night chat shows in America and were voted runners-up in the BBC Sounds of 2022 poll. Because of ‘Chaise Longue’, many will say that Wet Leg might not be more than just a fleeting moment. However, I disagree with them. The duo have other songs in their arsenal. Okay, they might be on the same level sonically and lyrically, but it is more than just one hit.

Okay, I may have gone overboard saying they are punk. They are like a soft version of punk. You can’t even say they are pop-punk because they sound nothing like bands like Green Day. They remind me of Lush, who were around in the 90s (If you can’t remember, there are videos of their performance of ‘Lady Killers’ on the short-lived Channel 4 show, the White Room. They have that same element of punk. I wouldn’t call them energetic rebellion as I have done for IDLES or shame. Staying with punk, their producer for the debut happens to be Dan Carey, who has produced for Fontaines DC, no less. You’re always onto a winner when Dan is involved. I recommend it if you have yet to hear Fontaines DC’s first two albums. The only difference between Wet Leg and Lush, I will even throw in Shampoo (Remember ‘Trouble’?) into the mix, is that the lyrical content is more based on 21st-century themes. 

For example, ‘Being in Love’ over punky guitars turns to delicate strumming as the song changes the subject mood. So, the music goes from, I imagine, Rhian/Hester or both being infatuated to them suffering from anxiety about the possibility of being hurt. The second example is ‘Too Late Now’, which, funnily enough, closes the album, whereas ‘Being in Love’ started it. This time, however, the girls feel alone and fret about missing out on opportunities. There is even a breakdown in the track where Rhian says, “I’m not sure if this is a song/I don’t even know what I’m saying/I’m not sure if this is the kind of life that I saw myself living” Now, I am not sure if she is talking about that music wasn’t the planned destination of her career, but it is powerful nonetheless.

You then have the psychedelic element on ‘Don’t Wanna Go Out’, like David Bowie’s ‘Hallo Spaceboy’.Although, Rhian talks about being in their late 20s and still living it up. ‘Angelica’ is about a girl at a party who thoroughly hates the idea of being there, and ‘Oh No’ seems to be about an individual trying to control a panic attack.

There are, of course, the punk tracks, which I mentioned earlier (Not the tracks. The element.) ‘Supermarket’ made me laugh because who hasn’t been stoned while shopping in one? Especially when you got the munchies. Then there is ‘Wet Dream’. That one doesn’t need a genius to work out the theme. Songs like these are more sinister than ‘Chaise Longue’, but their wit remains. One line that made me laugh on ‘Loving You’ was “I hope you choke on your girlfriend”. 

I also have to big up ‘Ur Mum’ just for the title alone, but the song is hilarious and reminds me of when I was young and using it as a light-hearted insult. That was my favourite, and it has been my favourite since I watched them perform a whole set via YouTube. 

I loved their debut. Okay, I didn’t have to listen to much of it because I had heard most of the songs performed live before its release. But it is an enjoyable, witty, sarcastic, punky record. The only qualm for me is that it needed to be longer.

Song recommendations: ‘Ur Mum’, ‘Supermarket’, ‘Loving You’

8/10

Week 14: Red Hot Chili Peppers- Unlimited Love

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I have no idea how I got into the Chilis; they just appeared out of nowhere. I just fell into them. I don’t know how. I just seemed to hear them everywhere I went as a kid. I don’t even know what track I liked back then. Anyway, “Unlimited Love” is their twelve studio album over a nearly four decades-long career. John Frusciante has also returned, and Rick Rubin has been called upon to help propel the band back to their peak years. 

The opener is ‘Black Summer’, which I believe is also the lead single because I saw the obligatory video on YouTube.John brings his signature solos, which the band and the fans have missed. It sounds like a track that belongs on their 2006 album, “Stadium Arcadium”, which is my personal favourite of theirs. The song title and lyrics in the chorus could be a nod to John because the band have been going through a “black summer” without his guitar licks and riffs. The second track leads off from the opener with Anthony Kiedis back to his best vocally. ‘Here Ever After’ also sounds like a classic Chilis song.

Flea’s turn is to showcase his talent on the funk-induced ‘Aquatic Mouth Dance’. However, the upbeat song feels like it was made as an Adult Swim track. What do I mean? I can see it being used in one of the shows on the channel or those little skits you see before the following programme. It was nice to hear trumpets and a saxophone, which I can’t recall hearing on many of their tracks.

There are acoustic moments on the record, but the songs lose meaning because they are too long. Especially ‘Not the One’, which is someone saying to their lover this isn’t going to work out because we are different.

Unfortunately, the downtempo doesn’t stop there as we head into ‘Poster Child’, ‘It’s Only Natural’, and ‘the Great Apes’.However, the latter does have a catchy chorus and is Anthony’s pro-wildlife song. He wants apes to have their freedom rather than be locked up in a cage for people’s enjoyment at the zoo. I can understand that and, therefore, like the message conveyed.

At the halfway point, a track called ‘These are the Ways’ brings controversy depending on your side. The track goes after the current climate in America. Anthony’s vocals are reflective during the verses, but his anger comes through during the chorus, and he attacks the current environment. This is Chad Smith’s best drumming showpiece on the record.

The album’s second half shows off the instrumentalists, and Anthony takes more of a back seat. Aside from showing off the instrumentalists’ skills, the album lacks any real punch after the halfway point. Yes, there are catchy songs, but no songs that stand out. I did like ‘Veronica’, which changes tempo between the chorus and the verses and has a nice story to tell.

I am running out of where to end this review, but another track that stood out because of the concept was ‘the Heavy Wing, ‘ where John takes lead vocals and plays guitar. The record ends on a mellow note with ‘Tangelo’, which features acoustic and, surprisingly, synthesisers. Unfortunately, this album blends in with most of their previous records. 

I didn’t notice anything significant in their tracks. All Rick did was bring them back to what they sounded like in their glory years. Apart from that, it sounded like any other Chilis album.

Song recommendations: ‘Veronica’, ‘These are the Ways’, ‘the Heavy Wing’

6/10

Week 13: Michael Bublé- Higher

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It’s great when I don’t have to do a little introduction of an artist/band. However, I was astonished that this is his 11th album, four years since he released “Love”. Unfortunately for Michael, he has been pigeonholed into Christmas. In September, which is the official build-up, Michael appears. My first review of one of his albums was last year’s first number-one. However, Michael has done virtually a covers record this time with two new ones thrown in.

I was wrong. It is four new ones that complete the 13-track album. Indeed, the lead single is an original titled ‘I’ll Never Not Love You’, an optimistic song about love surrounded by big band and swing that wouldn’t look out of place being performed by the Rat Pack. As usual, Michael has hit his audience. That’s what you associate with him with his silky and bombastic vocals. ‘Baby I’ll Wait’, written with John Mayer, sees soul and rock collide. Michael can blend his songs with the classics he puts on albums and effortlessly sings during live performances.

So far, I am talking about the original songs Michael wrote. I am not sure they were meant to be on “Higher” because the other nine tracks are covers. Let’s look at the title track. It has a Latino feel to it, wrapped around upbeat instrumentation. Then, the final original title is ‘Mother’. Funnily enough, it is Mother’s Day weekend, and how apt that there is a track by that title on this newly-crowned number 1 record. Of course, as you can tell by the title, Michael is paying homage to his mum, and the method used is a ballad. It is also refreshing to see that Michael is more than just a tremendous cover version singer. His work shows how talented he is.

I just remembered about another original: the second track, ‘My Valentine, ‘ done with the Beatles legend Paul McCartney. 

Yes, it is a song about love, and if I remember rightly, he brings up Valentine’s Day, too. This track starts quietly before bursting into a big band and will be one to watch on the forthcoming tour. What surprises you most about Michael is his ability to record covers still and add originality to them. He has done countless covers, and you would have thought by now that he would be in a cul-de-sac, but no. He still has the knack.

Leading off from the covers section in the previous paragraph, He does a tremendous and jazz-inspired cover of Bob Dylan’s’Make You Feel My Love’. Meanwhile, Adele and Bryan Ferry kept it more in line with the original, which was melancholic. It is the best cover of the song I have heard and is my favourite. Michael has fun with it. 

You can hear the smile through his uptempo vocals; as I mentioned, the jazz element leaves you feeling fuzzy. He also covers the late Patsy Cline’s ‘Crazy’ with Country legend Willie Nelson on guitar. I am sure they exchange verses, too, and Willie provides backing vocals. 

The final cover I liked on the record featured in the latter half is of the late Barry White’s ‘You’re My First, My Last, My Everything’. You’d think this would be more soul, but Michael again has fun. This time, he puts a disco spin on it—an astounding change-up of sound on the album. Michael sticks to what he knows best for most of the record: big band and swing. However, he ventures into soul, a bit of country, jazz, and, more surprisingly, disco. There is no doubting his vocals, though. It wouldn’t matter if this album were panned because he has the vocals to nail any live performance. He missed a trick not releasing this in the autumn/winter because the tracks’ production and uplifting nature leave you feeling warm and fuzzy. I felt like I should have been sitting next to a log fire with my feet on a stool with a hot drink. I know it’s only March, but we are heading into Spring, and despite the rain outside, it feels warm. Michael missed a trick here on what is a splendid record.

Song recommendations: ‘Make You Feel My Love’, ‘You’re My First, My Last, My Everything’, ‘Crazy’

8/10














Week 12: Charli XCX- Crash

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This won’t be a long review because of the artist in question. In the last decade, I first saw a documentary on Charli XCX on BBC3. It was a tour documentary. I had respected Charli until I saw what happened halfway through the documentary. Charli had cancelled shows on the American leg because she was “too hungover”. In other words, all the after-parties and primarily drinking took a toll on her body and mind. 


She cancelled the shows through what was self-inflicted. The fans who said they understood and still “loved her” fucking sickened me. I just thought, “You absolute fucking mugs. She has taken you all for mugs, and you accept it?” Sorry, but if you can’t handle the partying and drinking on tour, you either tone it down or just cut out the drink. To cancel shows is a disgrace, and I am surprised she wasn’t blackballed in America because of it. The venues lost money, and some fans would have booked holidays off work to be able to go. It is utterly unprofessional. Therefore, I have no respect whatsoever after what took place.




However, I listened to the album because that is my duty. I liked it, and I wanted to hate it. I am still not writing much on it, though. The majority of the first half has an 80s vibe, and I couldn’t get the late Prince out of my head as a comparison. My favourite track was the Garage-inspired ‘Beg for You’ featuring Rina Sawayama. The second half of the record enters the club music phase. 


The penultimate track, ‘Used to Know Me,’ is a slowed-down version of Robin S’ ‘Show Me Love’. Is there anything further to add? Most songs are about heartbreak, and she has an incredible voice.




Song recommendations: ‘Beg for You’, ‘New Shapes’, ‘Used to Know Me’




7/10

Week 11: Rex Orange County- WHO CARES?

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I first came across Alex O’Connor, or Rex Orange County, while playing FIFA 18 and his song ‘Never Enough’. I liked it, but I was invested in setting up the squad, tactics, formation, and playing the game rather than paying attention to the songs. The next time I came across him on Later…with Jools Holland in autumn 2019. I only knew who he was once I heard his vocals. Why? Because on FIFA 18, I avoid looking at who the songs are by. If they sound good, I keep them, and if they sound shit, well… they go. I was impressed by his live performances of the songs and then sought out his live performances via YouTube. I was further impressed and added him to my gargantuan list of artists/bands I like. Apparently, in the 21st century, he is like Paul McCartney to the kids. It is a stretch, but there is no doubt that Rex is talented.




The first thing that struck me about Rex’s fourth album, “Who Cares?” was how short it was. Before listening, I saw that the total time was under 35 minutes. I have heard records this long, so songs can be uploaded for teasing videos to Tik-Tok, and therefore, get those watching to buy and download the stream. It is a clever marketing strategy, but an album should be an album to me. From what I witnessed, those who use TikTok usually have a short attention span. 


An album was designed to be a long play and hold your concentration. My highlight was ‘OPEN A WINDOW’ with Tyler the Creator.




The album is happy-go-lucky, as usual. Something Rex is known for. Of course, there are moments of swearing and some songs about his recent split, but overall, Rex remains. It isn’t necessarily bad, but maybe Rex needs to face adversity to bring out the all-rounder we know that is hidden within him.




Song recommendations: ‘OPEN A WINDOW’, ‘ONE IN A MILLION’, ‘THE SHADE’

Week 10: Stereophonics- Oochya!

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I have been a fan of the Phonics since their first appearance on CD: UK(Countdown United Kingdom) in 1998 (I think.)Performing ‘the Bartender and the Thief’. The first thing that struck me was the guitar of the frontman and chief songwriter, Kelly Jones. A red Gibson SG. The only other person around the latter end of this Indie mad era I can recall using one was Paul Weller. That was the only reason I watched the performance on that early Saturday afternoon in the first place. At that time, plenty were in circulation due to Oasis making it ‘cool’ again. However, Kelly’s raspy vocals stood out; I found them different from the bands around then. Most of the newer bands tried to be Oasis, but the Phonics with Kelly’s vocals were pathing their own way to notoriety. 




Amazingly, they have amassed twelve albums from their debut, “Performances and Cocktails”. Their debut produced hits such as ‘Just Looking’., ‘Hurry up and Wait’, ‘the Bartender and the Thief’, ‘Pick a Part that’s New'(My favourite.), and ‘I Wouldn’t Believe Your Radio’. Anyway, that’s off track. Let’s talk about their current record, “Oochya!”. The cover is the first thing that caught my attention, and it resembles Green Day’s 1994 album “Dookie”. The opener is ‘Hanging on Your Hinges’, which sounds like it was recorded live in the studio. What do I mean by this? Well, bands like the Phonics back in the 90s and years before used to record a performance rather than the method used today of stopping and starting to edit out mistakes. Everything was recorded in analogue back then, which would be a pain in the arse to edit because you would have to cut segments of the tape. This is why bands and musicians from the analogue decades are masters. They mastered the ability to record performances with minimal mistakes. Indeed, it made them sharper and tighter when performing on tour. 


Apart from that, I noticed that the band didn’t resemble their usual sound. Almost immediately, I noticed a rather LCD Soundsystem song. I enjoyed it, but it left me intrigued about where the album would go next. I was expecting a grand Phonics-esque entrance.




However, over the remaining 14 tracks, the record trends common ground. So far, it is one of the longest albums I have heard this year, clocking in at 64 minutes and 12 seconds. The band are back to what you heard on “Performances and Cocktails”. Some have said it is a bit long, but I enjoyed that the Phonics returned to their electric guitar-laden roots. The records of late have been full of ballads and have been on a more reflective side. Although most of Kelly’s songs are quite cynical, the bombastic instrumentation gives it an upbeat feeling. 


Kelly’s good friend Noel Gallagher is also a master of pulling that off. Something they both would have learned from Johnny Marr.




Of course, the album has some slower-paced tracks like ‘Right Place Right Time’ and ‘When You See it’. The latter is better for its resemblance to ‘Have a Nice Day’ with Kelly’s raspy vocals, the carefree yet melodic strumming of the acoustic guitar, and the steady drums to give the song flesh around the bones. 




Like every band trying to capture past glories, “Oochya!” doesn’t quite get there. We associate Kelly’s vocals with raspy and rough, but on this, he does change tact, like on ‘Running Round My Brain’, where he changes up to Blues. It almost sounds like a song associated with the likes of Cody Johnson (A country star for those unfamiliar.)After all, it is challenging to find that winning formula you started with.




Again, even though recorded live, ‘Don’t Know What Ya Got’ stays on that Country path, remaining chilled out and with a Stereophonics originality, which lies solely with Kelly’s vocals. 


The band probably sounded like any band then, but Kelly’s vocals stood out. 




Apart from that LCD Soundsystem moment, the band are trying to re-capture what they had on their debut rather than moving forward. Now, this is good and bad because the good is there are no shit songs or songs that much out of place, and the bad. After all, they have yet to try to flirt with new concepts. I love the Phonics, so this is fine with me. I know they have experimented before, so as the Embrace song title says, “Come Back to What You Know”. 




Song recommendations: ‘Close Enough to Drive Home’, ‘When You See it’, ‘Hanging on Your Hinges’




7/10

Week 9: Central Cee- 23

~ honestopinions19 ~ Leave a comment
First and foremost, I am not a great lover of Drill. Yes, I saw the Noisey documentary from 2019 with Mike Skinner from the Streets and didn’t like what I heard. However, I heard about Drill in 2019 through an associate who was mad about it. I didn’t like the bullshit lyrics I heard about wetting a man up in a club or jooking man on road. I know about these sorts of bars, and I am guilty of writing them for clashes during the early years of Grime, which now make me recoil in horror. I still have the bars in one of my many Bibles, but I will look to amend them for my venture into Spoken Word. Drill is like the underground and darker version of Grime. People used to bitch and moan about what the Grime artists would say. Some have resulted in killings, like Esco Barz, the younger brother of retired footballer Jermain Defoe. I was never a fan of these MC battles, and when Esco was killed, it turned me off them completely. Drill has seen many artists from that genre serving time for murder, attempted murder, assault and other forms of crime. The genre pretty much encourages it. 


I remember showing a 22-year-old man my poems; the subject was current affairs. He responded, “You got bars still, but we youngsters don’t want to hear that. We want to hear about man getting jooked up.” This horrified me, but at the same time, I thought, “That’s bollocks”, and I am going to tell you why just shortly, but first…Central Cee is a young Drill artist hailing from Shepheard’s Bush, which is a stone’s throw away from QPR in White City. Central Cee, or Cench, has been around longer than you would assume. It is also unusual to see a mixtape become No.1 on the album chart. So this West Londoner started first to get noticed last year, and it is easy to understand why Central Cee isn’t your run-of-the-mill Drill artist; he goes deep on the subjects and doesn’t bang on about wetting or jooking man up. His topics are diverse. I first heard ‘Obsessed with You’ in February, and it opened my eyes to the fact not all Drill glorifies violence. I was listening to a Grime artist until it was pointed out that Cench is Drill. I was stunned.


“23” opens with ‘Khabib’, which I enjoyed. It then went into ‘Ungrateful’, where Cench says, ‘God, I don’t wanna seem ungrateful, but I don’t wanna live’—quite a big statement for a young man to express. The song talks about his trials and tribulations in life and his frustrations. Already, he had my attention because this seemed out of the norm from other Drill artists I had heard before. The record is short, with many of the 15 songs lasting a few minutes, including four staying under two. I don’t know why that is. Is all this getting songs viral via videos on TikTok the reason? He packs in as much information and hard-hitting messages despite the disappointing track lengths as possible. I will use a track, a prime example, ‘Obsessed with You,’ a track I have heard in its original guise, and a Drum n Bass remix by Hedex (I think.). This track is also proving popular among his fans and the mainstream. ‘Obsessed with You’ features PinkPantheress, who is well-known for her short viral songs on TikTok. It is a shame she is reduced to sounding like a Chipmunk. You can tell she can sing, but the vocal effect mars her talent. It is about Cench calling out to a former lover and what he did wrong. You don’t usually hear anything like this in Drill. 


Cench is more Grime-headed for me. His potential is yet to shine through, but it is undoubtedly there. He is at the forefront of steering Drill into a new direction and changing the opinion of those who look down on it for its glorification of violence.


However, my favourite track is ‘Lil Bro’, which features Lil Bro. They converse with Lil Bro, playing the role of Cench’s Lil Bro, where he says to Cench he wants to be a drug dealer. Cench tells him about the pitfalls of going into that and how it would hurt his mother, even though Lil Bro has no choice. Cench tells him there are better alternatives. He says to lil Bro, ‘It’s London City/not Compton’. He also discusses the trials and tribulations of fame, the misconceptions of gang culture, and the dangers of becoming a drug dealer. It is an eye-opening track; hopefully, the majority will take away a lot from it. Again, Drill artist? Are you sure? In the final track, ‘End of the Beginning, ‘ Cench uses many voice notes from his close friends, encouraging him to move with the music and giving him sound advice littered with motivational quotes with Cench rapping over a Trap beat.


“23” will undoubtedly change your perception of Drill. Cench has brought a realness to a scene known for its violent episodes. I have enjoyed listening to Cench since that moment earlier this year. He is one to watch in 2022 where he plans to improve his game. His mixtape getting to No.1 will already have A&R personnel scouting him at venues. 


As for the young man telling me that youngsters don’t want to hear life stories and me thinking it’s bollocks, Cench proves that it is indeed bollocks. Look at what he has spoken about across this record. It isn’t about “Wetting man up” or “Jooking man up”; it is much deeper and touches on life stories. There is finally room for it in Drill, and it is welcomed. Hopefully, it opens the eyes of those who are into Drill.




Song recommendations: ‘Lil Bro’, ‘Ungrateful’, ‘Obsessed with You’




9/10