Author: honestopinions19

Week Thirty-Six: Nines- Crabs in a Bucket

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I have to admit that I don’t know much about him apart from an incident in Harlesden last year when someone mentioned it in conversation and asked if I knew of him or his music. Anyway, I highly recommend listening to his album because there are some fascinating and gritty stories about his life with some tremendous wordplay chucked in. The album suggests that he is a rapper rather than an MC, of which I wonder if he has ever been the latter in the sense of grime, drill, or garage.

Nines captures your attention from the first track with his best introduction to date out of his previous two albums plus mixtapes. The track features a piano accompanying a horrific story about his father’s cancer diagnosis, seeing his friends getting sent down for life, not having material ready to give to major labels, and declining to appear at several festivals. He also yearns for freedom from that period, and how he feels trapped despite his current success. This isn’t just any old intro; this is an intro where the artist reveals, in this case, Courtney Freckleton rather than just Nines. “Intro” just blew my mind, and I have to say that I think it is up there as one of the most revealing tracks I’ve heard from an artist.

I also discovered that Nines is no small-time player in the game within the confines of the UK hip-hop scene, and that shows with the various features on the record who are the major players. Again, the contributing artists used impressive wordplay and told stories to make your ears prick up.

Much of the album uses samples from various hip-hop classics, mainly from America. He even chucks in a few 2Pac bars from his 1995 “Me Against the World” track. I believe the track in question is called “Lights” and uses the sample of Kool & the Gang’s “Summer Madness”.

As you know, I can’t stand interludes because they are often just throwaways, but there’s something about “Stalker Interlude”. Yes, it starts with Nines receiving a phone call from some next crazy woman asking why he hasn’t answered her fifteen calls. Still, he starts talking about the trials and tribulations of being caught up with women who act this way and even says to the lady in question that she’s a gold digger, but she isn’t the only one this song is aimed at. He talks about those who only want him as a boyfriend for his status and money and how he had problems with younger women and even posh women. An interlude I will listen to again and again. 

“All Stars 2” impressed me not just for Nines but for the story Clavish delivered, where he boasts about being on a Nines album when all others had doubted he was even worthy to appear on his mixtapes, let alone one of his albums. It’s a friendly little reminder for his haters to hear for eternity.

The album ends with no surprises: “Outro”, and just like “Intro”, it is every bit as compelling with the storytelling. Here, Nines addresses that he was once one of many crabs in a bucket and is now in high-profile business meetings. It is pretty refreshing to hear that even though he is now a made man, he still keeps it 100 by still living in Harlesden, rather than leaving at the first chance like one of his friends did.

Of course, there are drawbacks to the record; I especially hate using the dreaded autotune, so I didn’t listen to seven of the tracks. Despite that, “Crabs in a Bucket” offers more than his previous two albums, as Nines remains on the same topic throughout—his life. The listener discovers more than just his alter-ego, and it is always great to hear a rapper talk about their life outside of the business and what they have experienced and are like, from their strengths to their weaknesses to their vices.

Song recommendations: “Intro”, “Lights”, “Stalker Interlude”

8/10

Week Thirty-Five: the Killers- Holding the Mirage

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Here is a track-by-track review of the band’s sixth studio album:

My Own Soul’s Warning:

This is the first track I heard off the album while I tuned into Absolute a few weeks before the album was released. It is a slow-building track that bursts into a traditional Killers wall of sound. You can never forget the sound for that reason alone. The fable is quite religious, and what happens when you start questioning its validity? 

Blowback:

I remember while listening to this track if there is a deliberate drug reference behind the title. Because we all know when you partake in doing a blowback. However, the subject is altogether very different. It is about a lady trying to forget the past and move on but keeps getting blown back to times she would rather forget. Brandon Flowers has shown his ability to compel you with his lyrical content and stories. As the song draws to the end, two men appear to discuss the lady and how one has strong feelings for her, but the other man asks if he is willing to stay when the past creeps back in.

Dying Breed:

Brandon goes for it on this song, especially in the chorus, as his vocals grow in volume. A typical Killers track with all the synthesisers, et cetera. One to get the seating section up on their feet for a dance when venues are back to total capacity.

Caution:

The single promoting the album sounds like four bands rolled into one song. The intro is very Tame Impala, the verses are the War on Drugs and Slowdive, and the chorus is the Killers. Once again, the lyrical content and the story draw you in. There’s even an appearance by Lindsey Buckingham on the lead guitar. The story is about rolling the dice and throwing caution to the wind regardless of the consequences because you don’t want to regret missed opportunities.

Lightning Fields:

For the second track in succession, there is a feature in the form of K.D. Lang, and it works because her heartfelt vocals add to the whole aspect of the song. This is Brandon’s ode to his mother. As I said, it is Lang’s vocals that stand out over a typical Killers track that is inspired by the 80s. (It is hard to believe that when their debut was released, they were dubbed the American version of Oasis.).

Fire in Bone:

There is a bit of experimentation for the band here as they try doing funk. This reminded me of the prodigal son story from the holy bible, where you are forgiven for your wrongdoings upon your return. I especially love the lyrics, which thank the person for being there when they thought they were alone. It is also a reminder that only some of the time do we need to make it out of the dark without help and can confide in others. This is Brandon once again telling his wife that he’s always going to be there and she doesn’t have to suffer from her mental illness in silence. This could be a track that wasn’t quite good enough for the previous album, but Brandon felt that its unique beat and storyline fit perfectly on this record.

Running Towards a Place:

What with the biblical story on the previous track and the ongoing theme of religion, this album is very much invested in faith, and it’s no different on this track. Brandon could be a religious Mormon, but I am unsure. But on this track, he wants to believe that heaven and hell exist and to go to heaven and take the people he loves and cares about. Brandon has done a lot of soul-searching during the production of the record.

My God:

Weyes Blood’s vocals complement Brandon’s beautifully over what I can only describe as a hymnal rock (Does that genre exist? Surely, it must do?). I know that Brandon talks about being relieved that something weighing him down has now been lifted and wants to celebrate that fact. It might be again about his wife and how talking to her and dedicating a whole album to her mental health has made him understand and become a better person and husband.

When the Dreams Run Dry:

This appears to be a follow-up to “Running Towards a Place” with the theme of getting to heaven but aimed more at the pop market and seems to be the sole pop track on the entire album.

Imploding the Mirage:

The album closes with the title track and is appropriately upbeat—the best way to complete any record. You want the listener to have enjoyed the experience and leave them washed with euphoria as the last song fades out. Brandon talks about how he first locked eyes with his wife and how their opposite personalities were worth the danger of combining—a superb way to end another magnificent album.

Song recommendations: “Holding the Mirage”, “My Own Soul’s Warning”, “Caution”.

9/10

Week Thirty-Four: Biffy Clyro- a Celebration of Endings

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Upon doing my research, I was astonished to discover that the band from Kilmarnock, Ayrshire, has been around since 1995, with their debut album “Blackened Sky” released in 2002. I didn’t know of them when the 2008 single “Mountains” was their first to break into the top ten of the singles chart. I only started to know of them after their 2009 album “Only Revolutions” and singles called “Many of Horror” and “the Captain”. Indeed, I was taking my mind off a particular personal matter and helping out a mate DJing and going clubbing, and Biffy Clyro was played almost anywhere I went back in 2010. They have constantly reminded me of A Day to Remember and Alkaline Trio, albeit with an American sound mixed with original Scottish vocals. Since then, their stock has risen, and they are regulars on the festival scene.

This is their ninth studio album, and they were only well-known in the mainstream after 2008. When you listen to this record, you can recognise straight away that you are listening to Biffy, albeit they have given new hope to budding musicians (Especially guitarists and guitar bands.) to show that guitar music is still alive and, therefore, will encourage people to play the instrument still. They have decided to go experimental, too, which is always a good idea for music; it’s always good to freshen up your ideas and sounds. “Celebration” is a testament to that. I never have and never will believe that guitar-based music is dead. From what I see and hear upon discovering new music, it tells a very different story to what the critics have you believe.

“North of No South” opens the album and is gargantuan in sound. It starts with a ferocious tempo that, for the majority of the record, features heavily with crashing drums, rapid guitar riffs, dramatic orchestral sounds, and angelic choirs. “The Champ” is the only reflective moment with this fable of a relationship falling apart wrapped around a piano ballad, and “Space”, which you can see is the moment the phones are held aloft when the band finally get to tour this album to an audience in packed out arenas, stadiums, and festivals.

As the album ends, we enter “Cop Syrup”, which is six minutes and the longest track on the record, with just seventeen seconds of the hidden track “Less is More”, where Simon Neil sings a bit before the song ends. The first six minutes felt like listening to Tame Impala with its psychedelic and experimental feel. If I didn’t know I was listening to Biffy, I would think it was Tame Impala playing an instrumental track. It’s quite refreshing to hear that material by Biffy because it isn’t what they are known for and might indicate the next project.

Song recommendations: “North of No South”, “Celebration”, “Cop Syrup”

8/10

Week Thirty-Two: Fontaines D.C.- A Hero’s Death

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I remember hearing about the buzz of this band from Dublin a few years back from some folks I follow from Scotland on Twitter, so I first assumed they were an up-and-coming band from Glasgow or Edinburgh. Imagine my surprise when I finally listened to one of the many videos shared on that platform via YouTube. The track, funnily enough, was also the title of their debut album “Dogrel”. I have to say, I loved the energy, but the lyrics were…beyond basic. Their lead vocalist, unfortunately, didn’t impress me much, and I wondered what was the point of having Grian Chatten in the first place. His vocals sounded like a drunk punter slurring through a song on the karaoke machine. Despite that, his flat vocals work pretty well in the punk genre. Let’s face it: Johnny Rotten was hardly blessed with amazing vocal ability. I can’t think of many punk vocalists who can sing. Billie Joe Armstrong, maybe? After hearing the title track, I gave their debut album a full listen and was impressed with the picture they painted of their beloved Dublin City. I found the album had more structure lyrically than just that one song. Even if you’ve never been to Dublin or Mother Ireland, you have a good idea of what life is like from “Dogrel”. As much as I have never found the lyrical content impressive, I appreciate the energy the music provides; it is a bit like IDLES. There are minimal lyrics but fantastic energy in the instrumentation.

That’s enough brief history on the band and their debut; let’s review their second and latest album, funnily enough, also named after the track “A Hero’s Death”. They didn’t bother relying on the success of “Dogrel”; as you can imagine, they decided to intentionally head into another direction with the whole instrumentation and lyrical content. After all, writing about living in Dublin becomes quite challenging when you last visited before being on the road to promote your previous work. Grian has said that the band would have felt like they were frauds talking about life in Dublin again, as they haven’t been there much to experience it the past year, and therefore, it wouldn’t be fair on the listener to buy an album, which didn’t represent anything

authentic, thus making the listener lose interest in the band.

Instead, the band has talked about the places they have been on the road and what they have experienced and seen. As you can imagine, life on the road isn’t always sweet when you’re constantly sharing space on a tour bus, and this album certainly shows that as it discusses their excessive drinking, loneliness, depression, and fighting with each other because you are sick of the sight of each other during a long and arduous tour. I recommend a good documentary on life on the road and how this is depicted perfectly. It’s about Keane, so go and look online or buy their DVD. This album is more downbeat and lacks the energy of “Dogrel”, but I suppose that would always be the premise to replicate their mood on tour. For example, “Living in America” is very slow and melancholic. Then the tempo is switched up on “A Televised Mind.” the latter is not great lyrically, but you can feel the energy from the rhythmic pulsing of the guitar and the thumping bass of the drum. Once again, the title track is minimal with its lyrics (I believe, from what I remember hearing, it just repeats “Life isn’t always empty” for the duration?), but the instrumentation does it justice.

The band does not apologise for their change in direction and even know they may lose fans by not keeping in line with the debut. They even acknowledge that some people will be disappointed with the second record, but unfortunately, life has changed, and this is who they now are, so they cannot write songs about living in Dublin anymore. In fact, “A Televised Mind” is a dig at those who want to be appeased. “A Televised Mind” seems to be about people stuck in their ways and refusing to accept change. It is like some Oasis fans who can’t take that Noel does the music he wants to do.

Dan Carey’s services proved very successful on “Dogrel”, so the band chose him again. This time, as mentioned in this review, the sound would be very different in line with the band’s fresh outlook. The first record was very compact, but Dan gives more of the spotlight on the music this time, so you can fully appreciate Carlos O’Connell and Conor Curley on the guitars and Tom Coll on the drums. There is also room for ballads like “Sunny” with a gothic-like sound.

It is also worth noting to get the sound they wanted, and they were listening to quite a lot of the Beach Boys while they were touring stateside. The band wanted to make a record that wasn’t straight down the line, and that the Beach Boys heavily inspired “A Hero’s Death”.

As much as I liked the record, I am once again left unimpressed with the elementary lyrics that anyone could make up on the spot and the flatness of Grian’s vocals. Now, he is quite passionate about his profession, but it doesn’t come through in his studio performances and onstage performances. It’s quite sad. The music has the energy, albeit at times on this record brings it down, but Grian remains at the same tempo throughout. It is good that the band is willing to experiment so early in their career, but they are in danger of losing their identity, which accrued them fans. They must maintain sight of what made them unique, or they will fall into the generic bands they are frequently associated with.

Song recommendations: “Sunny”, “No”, “A Televised Mind”.

7/10

Week Thirty-One: Taylor Swift- Folklore

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the 1:

The opening track is about a perfect scenario if someone from her past relationships survived the course and lived happily ever after, rather than the usual song about her pain of breaking up with someone, which most of Taylor’s songs have been the subject of. Once again, Taylor doesn’t hold back on her language; from that, you can tell that what’s in store for the rest of the record is pure honesty.

Cardigan:

This track was released as the album teaser, and the obligatory video was subsequently released on the same day as this album. This song is about Taylor about being done wrong in a past relationship by being cheated on. I say that because it is done from a first-person perspective, and I imagine that Taylor is talking about it and how she has learned from it and can now sense the signs to get out before getting extremely hurt. The vocals reflect the maturity of the topic, and she is not being overly aggressive or even shouting her vocals. When talking about such a subject, that shows great restraint.

the Last Great American Dynasty:

Wow, this is a highly controversial subject to touch on. Living in England, I cannot say how much this would piss off the American folk because it is just a touchy subject for me, but it wouldn’t rattle anyone in England and Europe when she is digging up the past. For Americans, this is very controversial. The subject of the song is the Rebekah and Bill Harkness scandal. Rebekah is a middle-class mid-western, and Bill is the heir to the Standard Oil fortune. Why is it controversial? Because their marriage caused an uproar 70-odd years ago. Another reason why Taylor wrote this is because she happens to live in their mansion in Rhode Island. This is her finest songwriting to date. It combines the story of the scandal, yet she manages to draw comparisons to her own life.

Exile:

The album’s first feature is a duet with Bon Iver’s Justin Vernon, where they both have various views on a breakup. The vocals fall in synchronisation with the piano.

My Tears Ricochet:

If you thought “the Last Great American Dynasty” was controversial, this is more controversial. Taylor doesn’t hold back as she takes a swing at the fucking idiots who somehow managed to stop her from regaining the rights to her masters for her first six albums (I believe one of the arseholes involved is Scooter Braun, as I saw it unfold on social media at the time?). It is a pretty sad song as Taylor is in her coffin, and I imagine Scooter turns up at her wake. This appears to be a metaphor that your enemies will destroy you and still dare to attend your funeral/wake to mock you even after death. I commend her for shining a light on the subject of how you can get fucked over in the industry and lose the rights to what is rightfully yours.

Mirrorball:

One of Taylor’s favourite subjects to touch on is her love and hate-affair with the fame she has amassed through her talent and the attention, whether wanted or unwanted, that unfortunately comes with the music and songwriting. However, this is the first time that she has spoken so candidly about that affair. She talks about how she wants to please people and adapt to their wants and needs from her.

Seven:

How ironic that the seventh track should be aptly titled “Seven”? The subject of this Folkstyle song is about a friend trying to protect her best friend who is deeply traumatised desperately. The lyrics suggest that the best friend lives in an unhappy home where her father constantly shouts at her. The friend trying to help her mentions playing pirates at her house to escape the brutal reality of her home life.

August:

As we approach the halfway stage of the album, we hear part two of where “Cardigan” left off. This time, from the perspective of the “mistress”, over a faster melody and vocals full of optimism.

This is Me Trying:

This is Taylor baring her soul by revealing how she is only human with her mistakes, doubts, trust issues, and failures.

Illicit Affairs:

It is nice to see a song on this record wrapped around a guitar with its witty lyrics and emotional feelings.

Invisible String:

Taylor is known for writing songs about her exes, but this track shows her devotion to her boyfriend, Joe. It is quite biographical and mentions how fate played a part in bringing them together.

Mad Woman:

The fable to this song is about a widow who was made an outcast in her town and took revenge on it, but there is a deeper, more personal meaning by Taylor here. Taylor is charming here by not going directly to the issue she addresses. This song is hidden within a metaphor, but through the raw emotion in her vocals, you know that she is extremely pissed off with what the real issue is at hand here. This track seems aimed at all the misogynists who have made her life hell.

Epiphany:

This track is split into three subjects. Verse one is about her granddad’s post-traumatic stress disorder he suffered while serving in the US Army in World War II. Verse two is about those in the medical profession currently dealing with the pandemic, which has made their jobs both a risk and a living hell, and the chorus fuses both of these subjects and portrays her granddad and the medical professionals as American heroes. My only issue with this powerful song is it might lose its meaning with the production, which was Taylor opting for a Hymn.

Betty:

This track is done from the perspective of a male named James, where he takes a feminist view and says the man brought it all upon himself for cheating even though he is now feeling guilty and heartbroken that the woman in the subject of the song has moved on and found someone better. What’s more refreshing about this is that James takes the feminist view rather than confiding in another male.

Peace:

This song is dedicated to Joe, but Taylor asks if she will ever be enough for anyone when you consider her lifestyle and all the attention that comes with it. The sincerity in her vocals shows she is extremely passionate about the topic.

Hoax:

Seeing an album end on such a dark and sour song is very unusual. This track explores the impact of a toxic relationship but with reflection rather than anger. It’s a beautifully emotional song.

Song recommendations: “My Tears Ricochet”, “the Last Great American Dynasty”, “Hoax”.

9/10

Week Thirty: Ellie Goulding- Brightest Blue

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This is more like it. After last week’s piss-poor album on the top spot, we have an album that deserves to be there for its lyrical content, production, and delivery. I remember when I first heard Ellie (I’m pretty sure we all can.), it was the song that started it all for her back in 2010, “Starry Eyed”. Although it is not one of her best or even one of her favourites, in her own opinion, it was still a strong song, and the dubstep break was pure genius, considering how popular the genre was becoming around that time. I can’t say I know much about her debut 2009 single, “Under the Sheets”, which only charted at no.53, but no one will forget “Starry Eyed”, even though it only charted at no.4 and therefore isn’t her highest position of that year, let alone her career. It was everywhere. You walked into a shop, you heard it. You switched on the radio, you heard it. You went to a fast-food restaurant, heard it, switched on the music channels, and heard it. From all that promotion, it saw her debut album “Lights” hit the top spot in her homeland and chart at no.6 in Ireland. A year after being signed, all the hard work paid off in only the beginning of what has been an eleven-year career. She has since had success with the singles “Burn”, “Love Me Like You Do”, and “River”(“River” being a Joni Mitchell cover.) scoring top spots. And every album save for “Delirium”, which was her last, has reached the acme. Bizarrely, it has been half a decade since Ellie last released an album, and it appears that “Brightest Blue” was worth the wait.

This record has been recorded over three years, with the majority done in 2017. I heard a snippet of one of the tracks on the lockdown edition of Later…with Jools Holland. Now, it was difficult to gauge any opinion from it as, as I have mentioned, it was only a brief clip of the music video for “Power”, which subsequently was released a month after the show aired. From the snippet and Ellie’s discussion with Jools about “Brightest Blue”, it sounded promising. I will go into details of how that did indeed turn out to be the case.

The album starts strong and explosive in terms of the production and language with a track aptly named “Start”. The song features a crowd cheering, then Ellie starts to play the piano and what sounds like a slow jam with serpentwithfeet singing through a vocal tube. I don’t know what they are called, but the late Roger Troutman and Jodeci were big fans of utilising the device. Okay, so maybe I exaggerated a bit on the “explosive” part, but the production is, all the same, outstanding. I was leaning towards the language used by Ellie rather than the production. It doesn’t fit in with the slow jam, but it is refreshing to see Ellie pour out her feelings and go with them in a way she seldom sees in terms of swearing in a song.

“Tides” caught my attention much later in the record, and it sounds like a song produced by Jamie XX or, indeed, a song for the XX. I wasn’t too keen on the features as, once again, the artists resorted to using that dreaded autotune. It spoiled some potentially impressive tracks on the second disc, which only renders “Overture” and “Sixteen” worthy of listening.

“Wine Drunk” is a very short track, but you can tell that Bon Iver has inspired Ellie as she used the same vocal effects that Justin Vernon uses. The title track that ends the first disc is a powerful song, and when you look at the lyrical content, it is very poetic. Here is an example of what I mean:

“Even in the calmest seas, now it’s all I wanna be, a semi-precious mystery, yeah I love me more than you, doesn’t mean I can’t be true.”

I love lyrics like that. You could use it for rap as well as for just poetry. Ellie has done a great job on this record, and both discs end strongly with “Brightest Blue” and “Sixteen”.

Ellie is cementing her place in music history, and you can understand why she is still relevant with unique vocals, catchy choruses, lyrics that strike a chord, and her desire to mix up her songs. This is one of her best albums to date. “Brightest Blue” captures your imagination from the very first listen.

Recommendations: “Start”, “Ode to Myself”, “Woman”

8/10

Week Twenty-Nine: Juice WLRD- Legends Never Die

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Although Juice WRLD lost his life tragically after taking copious amounts of narcotics while on board a plane last December, I will not sugarcoat what I thought of this posthumous release. The Streets should have been at no.1, as it is the better album. It is also very insulting that this poor effort knocked Paul Weller off the top spot. It is abysmal, and to be honest with you, that dreaded autotune was used excessively in EVERY track (Save for “Introduction”.) that I ended up listening to barely half of a song throughout. It’s just unnecessary to utilise this shit piece of software. If you can’t sing, then don’t even attempt to. The only track I did pay attention to was the introduction, where the late rapper talks about his life. That was very interesting, and no fucking diabolical autotune used. It’s 21 tracks of poor, poor production. The only track I would recommend is “Introduction”, but apart from that, it is cringeworthy, and I think, wherever Juice WRLD is, even he would be embarrassed with the outcome of his first album after death. I can’t even give it a rating. It is as bad as Justin Bieber’s effort. As I said, the Streets should have been at the top; it has better beats and more great lyrical content. I feel sorry for Mike and the rest of the members. 

No rating

Week Twenty-Eight: Paul Weller- On Sunset

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It is absolutely amazing that the older the Modfather gets, the better his music gets. Before 2005, he had a mini-slump as we entered the 21st century, but not as bad as being almost the forgotten man for a bit in the 1990s. He did jack it all in after 1989 when going through turbulent times since the Style Council split. In 1991, he went back out on the road playing small venues, to begin with, as a solo artist, but it sounded more like a band called the Paul Weller Movement. He then released his self-titled debut album in 1992 and once again was being talked about for the great songwriter that he is. Still, it was his second album “Wild Wood” that really got him back in the limelight, not to mention the praises of a young, fresh-faced songwriter called Noel Gallagher (Who is still his neighbour at present in Little Venice despite Noel trying to sell his London home.) who happened to be in a band called Oasis who were leading the movement back in 1994, which got Paul new fans and at present, the momentum from that year is still carrying Weller through. Yes, he had three disappointing albums to begin the 21st century by his standards, but since “As is Now”, Paul has had the fire in his belly to prove he’s still one of the greatest songwriters in the world.

He has also had a philosophy of not looking back since 2005 and has dared to experiment on every album thereafter. “On Sunset” is no exception. Instead of sticking to the sound he once mastered, he has added vim and zest with his experimental endeavours. They usually say, “If ain’t broke, don’t fix it.” However, in music, you need to change with the times and push yourself to try new ideas rather than stagnate. This is why most songwriters disappear from the radar because they are too comfortable. Weller is willing to try new and exciting things to let everyone know he is still working and stamp his authority all over the industry.

Weller has changed up the tempo for this record; as we all remember, “True Meanings,” his last album from two years ago, was very reflective and simplistic. However, “On Sunset” is a departure from its predecessor and challenged him, but from what I heard, it’ll bear fruit for the Modfather in the long run.

The record begins with “Mirror Ball”, which I would describe as a three-in-one track because of the number of genres included. It goes from psychedelic, experimental, sub-bass and then, as the seven minutes approach, back to how it began. I could see the likes of the Chemical Brothers, Toydrum or Amorphous Androgynous remixing this, but Weller is more than confident of having a go himself as he gets bolder these days.

Most of the album, which was recorded at Black Barn Studios in Surrey, has a very summer feel to it when it was probably recorded during the cold winter of this year and last year. The whole element of funk and bass adds to that summer effect. However, towards the end of the record, we have tracks like “Equanimity” that sound more like he did back in 2000 compared to what he has been doing for the last fifteen years of being very experimental in the studio.

The title track is sound, but I don’t know if the final mix was supposed to have the effect of the Modfather’s vocals being overpowered by the strings to accompany them. It seems odd that Weller’s vocals are very feint.”Bapiste” reminds me of his track “Wild Wood” from the early 1990s when he dared to go solo, and it feels like a song dedicated to his passion.

The production is a bit much, but the lyrical content more than makes up for it. I’ve heard some bullshit in recent years that the Modfather is no longer a force with his songwriting, but after nearly 50 years in the industry, I disagree. He has always retained his ability to write songs; even those first three albums of the 21st century still had gems on them, although fewer. I loved “Rockets” as Weller once again gets political and takes a swipe at the sorry state of current affairs. He was also clearly inspired by the late David Bowie, as it sounded a bit like Bowie’s Ziggy Stardust era.

“More” indicates what Weller plans to do from here on in. “There’s always something else in store, keeps me running down that road.” if that isn’t a clear indication, then I don’t know what is. Weller is not planning to retire any time soon and is still hungry for more accolades among the many others he has received over the decades. 

Once again, the Modfather has stamped his authority all over the industry and is not paying attention to those who think he should be in the garden of his Little Venice mansion, having a cigarette with a pint and reflecting on all the milestones he has reached. I look forward to another experimental album to follow this.

9/10

Song recommendations: “Rockets”, “Mirror Ball”, “More”

Week Twenty-Seven: HAIM- Women in Music pt III

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Do you remember that song that sounded like it was from the 1980s, yet also the future? Well, that’s when I first discovered the trio of sisters. The song “Don’t Save Me” was played in every shop I happened to walk in. From there, I found out the artist’s name (Or, in this case, a band.) and started listening from then on. Anyway, this album doesn’t hold back, as is indicated from the outset. “Los Angeles” begins with a jazz/reggae/Cuban sound. “3AM” starts and ends with a phone conversation between a man and a woman over with RnB song straight out of the 1990s (You know? When RnB wasn’t shit?), “the Steps” is a country track with a bassline that is akin to Joy Division, New Order, the Cure and Monaco. “I Know Alone” shocked me because I could see myself including this in my garage DJ sets as it is very much like garage, “Up from a Dream” has a Goldfrapp sound, “Hallelujah” is your typical country song and “Summer Girl” samples the late Lou Reed’s “Walk on the Wild Side”.

The record, to me, has been given artistic freedom; it is an array of genres that the sisters are keen listeners to. It is also a middle finger to the music industry itself, which seldom gives artists freedom when recording songs and albums. They constantly push the artists to create music for the charts and follow a trend, so seeing the Haim sisters being allowed to a record that suits them is refreshing.

They also attack a particular music magazine journalist who interviewed them about their gender rather than their music’s brilliance and obvious talent. I’d listen to that track; it’s called “Man from the Magazine”.

Songs recommendations: “I Know Alone”, “3AM”, “Man from the Magazine”

9/10

Week Twenty-Six: Bob Dylan- Rough and Rowdy Ways

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rough-and-rowdy

Well, it is only fitting that I do an entire track-by-track review of Bob’s latest and 39th album:

I Contain Multitudes:

As you will discover as the record progresses, most of the songs are over five minutes long. The opening track was released as a teaser for the album, which happens with most soon-to-be-released albums. As I said, most of the songs are long, and this was no exception, but keep your attention focused and listen to what is contained in this spoken word track. It may start differently than a typical Dylan album, but it is still worth listening to. It felt like I was listening to the start of the record as dawn broke, and I thought it sounded familiar to the late John Prine’s “All the Best”. Bizarrely, Bob even sounds a bit like John on this one. What will surprise you is that the song pretty much doesn’t reflect the usual Dylan material, but the lyrics inform you that it is indeed the genius of Bob at work.

False Prophet:

Yet another one that Bob used to tease the album release. From the sombre mood of the opener to the more lively following track laced with Bob’s dark humour.

My Own Version of You:

Now, this might go down poorly with the hardcore element of his fan base. Remember what happened when he ditched the acoustic guitar to play more electric originally? He alienated a fan base by doing so but didn’t give a fuck and did what he wanted to do. Of course, he still played a balanced set after all the furore over it, and again we see Bob doing what the fuck he wants to. Why? Because this sounds more like Bob rapping than actually singing or spoken word. I love his wordplay and his delivery on this track. I also like rap, so this track doesn’t make me get all angry at Bob’s attempt to do something creative. Anyway, that’s who he is. He is an innovative artist who gives himself no boundaries in the expressive arts kingdom. His hardcore fans should give it a listen and a chance.

I’ve Made up My Mind to Give Myself to You:

A rare glimpse at the moment with Bob’s songwriting as he focuses on the subject of love. It also reminded me of “Is Your Love in Vain” and the track he wrote for the Home Box Office serial crime drama rated one of the best in the world, the Sopranos. Bob usually struggles to convey his messages with sincerity regarding love songs, but he delivers this song with absolute conviction.

Black Rider:

Well, you will have noticed that most of the album is more spoken word, and this song is no exception. Indeed, if you thought the tracks were delivered in the same vein as the late Leonard Cohen, you will hear something very familiar in the form of Leonard’s “You Want it Darker”. Although about mortality, the topic hits the nail right on the head with how it is portrayed. Nick Cave or John Cooper Clarke, fuck it, even Dave could turn this into a cover that justifies Bob’s work later down the line. Of course, their version won’t beat his, but they could do it at some event in his honour in a couple of years. I mean, like a recognition event for his work. Many of which he has already had.

Goodbye Jimmy Reed:

Now, we are on common ground with Bob’s material. So far, the album has been unique and captured our attention. Not to say anything is wrong with Bob bringing familiarity to the record, but this is a safe option with all that has happened so far.

Mother of Muses:

It feels more like a Christmas song, and who knows, maybe this will be released just in time for this year’s yuletide? There’s also a change in vocal direction as Bob sings on this one, and I describe the delivery as melancholic yet beautiful.

Crossing the Rubicon:

It’s a blues song that captivates you with its slow arrangement. That is the track in an absolute nutshell.

Key West (Philosopher Pirate):

This is one of his very best, alongside all his work, and I am not exaggerating. Definitely the best off the record, but it goes much further than that. This is Bob at his finest. He still has it in him to write timeless classics, even at this late juncture of his career. It is a better version of all his tracks that do not get the recognition they deserve. His vocal delivery and melody are one. Even if this album hasn’t been to your liking so far (Trust me, it’ll grow on you in time.), you have to give this track a listen. Bob has written a classic that will be spoken about long after the current people occupying the planet are dead and gone.

Murder Most Foul:

What’s impressive about the final track is he had the fucking balls to release it as a single! It is only FIVE seconds short of SEVENTEEN minutes! Incredible! It is also his longest-ever song, the first single off the album. The sleeve has a picture of the late John Fitzgerald Kennedy; indeed, that topic is the assassination of the 35th president of the United States. The song itself was an accidental release. It appears as it was uploaded onto Bob’s YouTube account. Imagine Bob has ended an album with two masterpieces that look like they are going down as his timeless classics. No need to imagine anymore because he has finally done it on this Leonard Cohen-esque record. Bob said he did this album for him and him only, but stick with it and keep listening, and I guarantee even the hardcore fans will get it. It’s a shame he was up against Neil Young for the top spot, but Bob thoroughly deserves to sit atop the rest of the competition again.

Song Recommendations: “Key West (Philosopher Pirate)”, “Murder Most Foul”, “My Own Version of You”

9/10