Author: honestopinions19

Week Thirty-Seven: the National-Sleep Well Beast

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The National are very much like an individual with a split personality. What am I referring to when I say this? Well, they make songs that wouldn’t look out of place for a documentary on climate change or feature on an album for tranquillity, but then Matt Berninger is a different animal onstage. Almost like the inner beast has been unleashed and the rock star attitude brought to the fore. Onstage, Matt jumps around like a hyperactive monkey on speed and interacts with the crowd. Ergo, the split personality I speak of. 

Matt has been quoted working on previous albums as saying, “How the fuck can you get wild while looking at a fucking tranquil pond out of the window?” or words to that effect. This time however, with their seventh album, “Sleep Well Beast”, they have left the peace and tranquil surroundings and recorded in the hustle and bustle of New York City, which has led this album to unleash that Rock star attitude we are familiar with during their live performances. Albeit the album takes the theme of all things middle-aged, like struggles in a marriage, relationships, feelings of regret and being too worn out to fight your corner during arguments because you’re so that fucking fed up with arguing and wasting energy that you felt was just during your younger days.

The song “Day I Die” talks about drinking or smoking weed to avoid arguments and the frustration of being irritated by your significant other but not feeling any different. However, those drugs are known to block out any worries on your mind. So ultimately, instead of helping the situation, you exacerbate it by annoying your lover.

This album feels more like a novel broken into several volumes through music. Indeed, it could well be an audiobook by Matt, and co-writer Carin Besser (How’s this for irony? That’s his wife!) concealed within an album as they frequently talk about the subject of middle age. You would have thought that this album could well end their marriage, but surprisingly none of them feels hurt by the emotions laid bare on, “Sleep Well Beast”.

At times, despite appreciating the album’s consciousness, you wish it would move onto more uptempo songs rather than the baritone vocals supplied by Matt. When the tempo does change, fuck me, it is worth it. You have the psychedelic “Turtleneck”, the Radiohead inspired, “I’ll Still Destroy You”, and the wonderful guitar solo on “The System Only Dreams in Total Darkness”. The latter is my standout and the band adopting reckless abandon and showing the onstage attitude that makes their live shows so amazing. Maybe the factor for this track was because they were in the big apple. I hope the next album will feature a lot more reckless abandon and show everyone that the National are much more than a soft soul.

Overall: Surprisingly, I enjoyed the album and liked the conscious subject being narrated. Albeit, if I were at a party or something, I wouldn’t be that amused if someone rambled on me about the struggles of being middle-aged. I’d probably tell them to fuck off, in fact, and let me enjoy myself. But as mentioned, when they let go, the sound is fucking amazing, and they really take you in a different direction with plenty of rock n roll swagger on display. The guitar solo on “The System Only Dreams in Total Darkness” sends chills down my spine and makes the hairs on the back of my neck and arms stand up, as well as the soaring chorus with the line, “I can’t explain it, ah ha, any other, any other way”. By the way, Matt Berninger has an uncanny resemblance to Liverpool manager Jürgen Klopp.

8/10

Week Thirty-Six: The Script- Freedom Child

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

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

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

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

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

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

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

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

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

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

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

8/10

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

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

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

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

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

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

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

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

9/10

Week Thirty-One: Arcade Fire- Everything Now

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Everything_Now(Continued):

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

Everything Now:

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

Signs of Life:

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

Creature Comfort:

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

Peter Pan:

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

Chemistry:

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

Infinite Content:

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

Infinite_Content:

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

Electric Blue:

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

Good God Damn:

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

Put Your Money on Me:

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

We Don’t Deserve Love:

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

Everything Now (Continued):

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

Overall:

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

7/10

Week Thirty: Lana Del Rey- Lust for Life

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

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

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

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

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

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

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

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

8/10

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

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

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

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

Rendering the footage from the studio of the band irrelevant.

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

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

3/10

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

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

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

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

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

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

8/10

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

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

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

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

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

8/10

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

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Sgt.Pepper’s Lonely Hearts Club Band:

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

With a Little Help from My Friends:

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

Lucy in the Sky with Diamonds:

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

Getting Better:

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

Fixing a Hole:

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

She’s Leaving Home:

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

Being for the Benefit of Mr Kite!:

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

Within You Without You:

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

When I’m Sixty-Four:

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

Lovely Rita:

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

Good Morning Good Morning:

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

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

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

A Day in the Life:

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

Overall:

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

 

9/10

Week Twenty: Harry Styles- Harry Styles

~ honestopinions19 ~ Leave a comment

HarryStyles-albumcover

I must admit that even though I could tolerate One Direction for an hour of listening to one of their albums, I wasn’t expecting what I heard on Harry Styles’ debut record. I was expecting more of the same of what One Direction is known for, but this record took me entirely by surprise. I thought Niall Horan would be the one to do a rock solo album; after all, he is known for being heavily into his indie and even covered a version of “Wonderwall” in One Direction, much to the chagrin of several Oasis fans. Still, Harry has gone for the rock route, and it works very well, which I think might appeal to others more than the ones labelled “Directioners”.

The music is heavily influenced by the Eagles, Warren Zevon, Motley Crew and even a little pinch of Elton John. It is a very mature-sounding record for this day and age, and that may be to do with the fact he has grown up since 2011. It could also be down to the fact that now he is solo, he has free reign over his direction and creativity. There’s even country music thrown into the record, which can be heard on “Two Ghosts” and “Sweet Creature”; the latter may be about his ex and country music star, Taylor Swift (Yes, even though her music seems extremely bubblegum pop, Taylor cut her teeth on the country music circuit doing countless gigs before finally catching someone’s ear in the mainstream.). There’s also a nod to Bon Iver with “From the Dining Table”. You can see just by the artists I have mentioned in the review that Harry has a broader taste in music, which we didn’t see in One Direction.

Then Harry has moments of full-on rock with “Only Angel”, drawing inspiration from ZZ Top’s sound. Some raunchy and no-limits lyrics on “Kiwi” crashing against Aerosmith-inspired guitar licks, and then on “Carolina”, We can hear the mid-1990s have influenced Harry—an astounding debut album for those who aren’t really into One Direction. Nonetheless, the record has attitude, swagger and maturity. The influences he has been inspired by are certainly a departure from the bubblegum pop he was accustomed to with One Direction. If this is how he means to go on, he has a tough act to follow with his second record. I don’t think he even cares about those who say these artists don’t belong in the rock arena has to say, neither. If he wants to go in that direction, I think he should be left alone to do as he pleases.

8/10