I enjoyed the production of “Wuthering Heights”. It is lush and crafted with utter precision, but the listening experience is marred by Charli’s heavy reliance on auto-tune. The instrumentals shimmer with detail and atmosphere, but the vocals don’t enhance the listening experience; they quite simply flatten it.
I was delighted to see that John Cale was a featured artist on the album, with his presence on ‘House’, where he delivers in spoken-word form, but unfortunately, the track falls foul of her synthetic, glazed vocal coating. What could have been both gothic and haunting is overshadowed by overpolishing and distance. The production of the record had depth and promise, but it is frustratingly pushed out by the vocal effects.
“How Did I Get Here?” is the third solo album by Louis Tomlinson. It features upbeat anthems and is thought-provoking. It further shows how he has evolved from his days in One Direction with meaningful lyricism and catchy songs.
Let’s now address some of the key tracks:
Lemonade:
Well, if you have not heard this, where have you been? It’s been played heavily across the airwaves. The opener features groove-heavy guitars and an upbeat, summer-vibe melody over breezy pop.
Palaces:
My absolute standout on the record. It’s packed with indie-rock energy, with reflective lyrics that address fame and relationships. You can tell how much indie influences his sound.
Dark Light:
The most emotional track on the album. This acoustic ballad discusses vulnerability, grief and loss.
Imposter:
This one reminded me of Empire of the Sun’s music. It addresses self-doubt and identity over atmospheric soundscapes and pulsating bass.
Sunflowers & Lazy (Two tracks):
Upon hearing these, I had to check to see who the producer was, because I was sure it was Tame Impala’s Kevin Parker. It wasn’t, but they had that bright psychedelic rock feel synonymous with Tame Impala.
Lucid:
The album closes with a gentle yet melancholic soundscape that ties back to the record’s title theme.
I prefer “How Did I Get Here” to his previous album. It shows another confident step forward, with its craft, varied emotions, new soundscapes, and meaningful lyricism. I didn’t see much mainstream pop on display, but indie rock, lo-fi, and psychedelia. Tracks like ‘Palaces’ show that he’s starting to settle as a solo artist. The album is a fine balance of uplifting and reflective tracks that keep the listener interested.
Song recommendations: ‘Palaces’, ’Sunflowers’, ‘Lucid’
A track-by-track review with a bonus track thrown in:
Rocket (feat. Tony Iommi):
This punchy, guitar-driven opener is the leading single featuring ex-Black Sabbath lead guitarist Tony Iommi. The track reminds me of Joan Jett and the Blackhearts tracks. It’s raw, full of rock attitude, and has anthemic energy. Tony’s solo is the standout moment.
Spies:
The song has a jangly guitar and is mid-tempo Britpop with nostalgic chords.
Pretty Face:
Didn’t like it. Too poppy for me.
Bite Your Tongue:
An alternative rock track with spoken word. It may feel odd, but it is playful, adding something different to the album.
Cocky:
Stomping glam-rock energy that’s fun with plenty of swagger.
All My Life:
An Oasis-inspired reflective ballad discussing dreams. Providing one of the more emotional moments on the record.
Human (feat. Jesse & Joy):
Another reflective ballad.
Morrissey:
Co-written with Take That’s Gary Barlow, this tongue-in-cheek track is about Morrissey’s legacy. It’ll certainly divide opinion. The lyrics also might suggest he’s playing the role of someone in love with the former Smiths frontman.
You:
Same attributes as ‘Bite Your Tongue’.
It’s OK Until the Drugs Stop Working:
I loved this track, and it certainly provided something different. This reflective, self-aware addressing of his past is Divine Comedy-esque.
Pocket Rocket:
An ethereal and dreamy closer of the standard edition.
G.E.M.B:
I included this track from the deluxe edition because it is my favourite. Robbie’s bold, tongue-in-cheek energy is captured perfectly over sublime indie rock, with his cocksure lyricism. It’s fun, bold, and catchy.
Coda:
“Britpop” is not about reinventing the wheel. It’s Robbie showing off to a sound he loved during the 90s, and that influenced him. The record is catchy, energetic, and fun, with songs that’ll become anthems. The lyricism may divide opinion, but this is one of his best albums to date. The title does what it says on the tin.
Song recommendations: ‘G.E.M.B.’, ‘It’s OK Until the Drugs Stop Working’, ‘Cocky’
This Dolby Atmos 50th anniversary edition of “Wish You Were Here” may appear to be a cash grab, but underneath the surface, that isn’t the case. The bonus material, which I will discuss later, has been carefully selected. The album’s emotional weight has been enhanced by the clarity and space, so all the emotions expressed with newly resonant without losing the original spirit.
My highlights from the new version include ’Shine on You Crazy Diamond (Parts 1-4)’, which benefits from the expanded soundstage, with its synths and guitar lines gradually blossoming, making it more immersive. I also like the new version of the title track, which brings the acoustic textures closer to the track’s emotion. ‘Welcome to the Machine’ is precise and more imposing, with the mechanical elements more defined, and the final track I will mention is ‘Have a Cigar’ because the use of the improved separation gives it more bite.
I feel the bonus material only enhances the latest edition of the album. We have a new mix of the record, remastered and using Dolby Atmos, and unreleased tracks from a live concert at the LA Arena in 1975, that offers a raw edge of the band improvising onstage. There are also alternate and early versions that show how the sound has progressed throughout the years. This helps take away the idea that this edition is just a “cash grab” or “filler,” because every version has substance.
“Wish You Were Here 50” celebrates the anniversary respectfully. The new versions brighten the tracks, and the bonus material adds texture and context. It is a must-have for Pink Floyd connoisseurs, and Dolby Atmos will introduce a younger generation of listeners to the band. My one gripe with it, and to be honest, it is to be expected of them, is that the songs are very long. There are Dolby Atmos versions and live tracks that run over 25 minutes. Pink Floyd connoisseurs will adore it because it shows off the band’s prowess, whereas a casual or new listener may find it a bit too much. There are also long intros, where the first lyrics are sometimes delivered at the 8-minute mark. As for the record, the songs remain the same, but with the element of Dolby Atmos, they have never been more clearer. You hear everything, and it’s glorious.
Song recommendations: ‘Have a Cigar’, ’Shine on You Crazy Diamond (Parts 1-4)’, ‘Wish You Were Here’
WAHEY! It’s Christmas! Where most people are cheerful, and that is very infectious. Anyway, it is no surprise that a Christmas album sits atop of the chart. Usually, Michael Bublé does. At the moment, it is Kylie with an expanded edition of her 2015 record “Christmas (Fully Wrapped)”. The new edition is Kylie stamping her style over new songs and covers. We have effortless vocals that are both warm and playful.
Let’s look at some highlights from the album. I have excluded ’Santa Baby’ and ‘Let it Snow’. I will explain my reasoning in due course:
It’s the Most Wonderful Time of the Year:
As you will discover, most of the songs are like supernovas. Mainly the covers, because they were written in a time when radio plays were extremely short. Kylie does this justice, delivering an upbeat, polished, celebratory tone without going too cheesy.
XMAS:
I guarantee that if you have been near a radio. You would have heard this new track, as it is being played to death, and with good reason, too. Rhythmic, quintessentially Kylie, that blends her modern pop sound into a Christmas theme with ease. This one will be on a future Christmas compilation; it is that good.
Hot in December:
Another new addition, and another standout alongside the previous one. Cheeky, playful, and of course, Kylie stamped. Not your usual Christmas track. I thought the title hinted at the weather in her native Australia during this period, but the lyrics talk about being free and flirting.
At Christmas:
Time for a reflective and tender refrain. Her vocals really sell the story.
Santa Claus Is Coming to Town ft. Frank Sinatra:
I was uneasy seeing that the late Frank Sinatra was included as it can often disrespect the memory, but this felt tasteful. Of course, Kylie’s vocals were exemplary.
This Time of Year:
Another new track, warm and gentle. Another refrain from the upbeat tempo.
100 Degrees ft Dannii Minogue:
The chemistry between the sisters is a sound to behold. You might think there might be a sense of bitter rivalry, but this disco-inspired track is delightful. The sisters give the album a colourful array of fireworks.
Office Party:
Another favourite of mine. A silly, fun, and light track. The title says it all. If you know the chaos at the office Christmas party, you will know.
White December:
Melancholic and unmistakably wintry.
Christmas Isn’t Christmas ’Til You Get Here:
An intimate and heartfelt track. Again. Kylie’s vocals shine.
Have Yourself a Merry Little Christmas:
Restrained yet elegant vocals, and that cozy feeling of being by a logfire with mulled wine.
Now, earlier I mentioned why I do not like ’Santa Baby’ and ‘Let it Snow’, and now I will explain my reasoning as to why the record works without them:
More mature
There is no novelty fatigue
Flows better
Showcases more of Kylie’s artistry
Why? Because there is a better balance between playfulness, tasteful covers, and modern originals that serve a purpose rather than overloading the album.
Encore:
What a sublime listen this was. I much prefer this to the original released ten years ago. The record doesn’t have its polished sound when it gets playful, remains stylish, and has that Christmas feel without going over the top. One of the best Christmas albums I have ever had the pleasure of listening to.
Song recommendations: ‘XMAS’, ‘Office Party’, ‘100 Degrees’
This collaboration between Aerosmith and YUNGBLUD for “One More Time” just doesn’t do it for me. I feel it’s a mismatch. I quite enjoy listening to YUNGBLUD and hearing his interviews, but unfortunately, I just can’t stand Aerosmith, and that includes ‘Walk This Way’ with Run-DMC. Never understood the hype around them. Because of their presence, the EP is spoiled. The raw energy and deep lyrics are lost among Aerosmith’s trademark sound, and therefore make YUNGBLUD’s contribution redundant. The blend hampers YUNGBLUD, and his statement gets lost amid outdated production, making this short listen laborious. If, like me, you’re not keen on Aerosmith, this EP isn’t for you. I won’t be recommending any track because I didn’t enjoy any of them. I will give it a 5 for YUNGBLUD’s contribution.
No need for an introduction, as I already did “CALM”, the album named after all the members’ first names. So, onto 5 Seconds of Summer’s sixth studio record, “Everyone’s a Star!”. This effort features pop-rock, electronica, and electro-punk over reflective lyrics. The album screams confidence with its identity. It may be modern, but it still has the emotional element of the band and their melodic instincts. Now, I listened to the “Full Evolved” version, which is the equivalent of a deluxe edition, featuring songs centred around specific members and therefore giving it an even more personal listen.
As you know, I reviewed ‘CALM” and this album feels like a combination between that and “5SOS5”. Why? because “CALM” had atmospheric experimentation, and “5SOS5” was more crispy pop. The production features tight percussion, clean vocal layering, synth-heavy soundscapes, and is wrapped in personal subjects such as burnout, insomnia, self-image, and vulnerability.
The emotional element is what makes the record strong. Although there are upbeat tracks, they still have undertones of reflection. The likes of The Smiths and Oasis are known for putting melancholic lyricism over upbeat instrumentation, so they have adopted this approach.
Let us have a look at the standout tracks and give them a kind of track-by-track review. I will also include my standouts from the “Fully Evolved” section, but not explain why. I will leave it up to you to figure out:
NOT OK:
The key track that blends vulnerability with a cinematic hook. The listener will resonate with the theme, as the lyrics express… well. The title says it all.
Boyband:
The lads take a comedic approach to being labelled a boy band since they first burst onto the scene with pop-punk, which is a welcome break from the melancholy on the album.
Telephone Busy:
One of my complaints, which I will highlight in due course, is how short the tracks are, and this is a case in point. A pop track aimed at TikTok viewers, who, let us face it, have a short attention span. A polished earmworm track to say the least.
I’m Scared I’ll Never Sleep Again:
A track addressing the band’s struggle with insomnia, and a slower pace to the majority of the rest of the record. This vulnerable, atmospheric track features a sublime arrangement over emotionally powerful lyrics that will move the listener.
The Rocks:
Gritty and raw, and a great way to end the album. A quintessential 5SOS track.
The “Fully Evolved” edition is the most intimate . The tracks, as I mentioned earlier, are specific to each member and therefore more personal, and sound less polished than the majority of the tracks, which, in my opinion, works as a healthy balance. It is also great to see each member tell their own personal stories.
Now, onto something else I mentioned before, and that is how short the tracks are:
Yes, I am impressed by how the themes all tie into the album, but the shortness of the tracks is an obvious drawback.
The standard edition is just over 36 minutes, whereas the “Fully Evolved” edition weighs in at just over 49 minutes, making the listening time that little bit longer. However, most of the tracks are just finding their feet before they come to an end. Bridges, and outros are too short, and some of the songs never reach their entire journeys. This could be achieved by adding more verses or extending the bridges.
Yeah, it does not ruin the listening experience, but on certain tracks, they could have been extended to enhance it. “Fully Evolved” compensates for the brief listen of the standard edition, so I would recommend opting for the “Fully Evolved” edition.
So, my recommendation for ‘Everyone’s a Star!” is the “Fully Evolved” edition. It is emotionally honest, polished, and fits into their wall-of-sound aesthetic. The standard edition is a mixture of pop and vulnerability, and the “Fully Evolved” edition tracks are far from filler, as they take you on a genuinely personal journey of each member.
And once again, let us talk about where the record falls down. The shortness of the tracks. You want to hear more lyricism or instrumentation before they reach their conclusion. The tracks deserve more space to breathe over the quality on display.
The album as a whole is tightly produced, thought-provoking, with melancholic lyrics over upbeat instrumentation, and bonus tracks that act as more than filler,which some records tend to fall foul of.
Song recommendations: ‘Cool as Dad’, ‘NOT OK’, ‘The Rocks’
This will not be a long review as I was pretty underwhelmed by Florence and the Machine’s latest album “Everbody Scream”, although I did like the rhyming theme to it( Florence and the Machine, Everybody Scream, Released on Halloween). Rather than being a record that’s enjoyable, it’s a more important one. Why? Because the momentum is light, but the atmosphere is heavy. Don’t get me wrong, it doesn’t affect Florence Welch’s vocals, because as always, they sound incredible. Despite the grandiose sound with the cathedral-sized intensity that every song wells up to, it starts becoming a bit boring. There are no real highs or lows or contrast, which just leaves an ethereal fog of emotion throughout
The lyricism is quite disappointing,too. Something that Florence usually excels at finding the balance of poetic and primal, feels too self-absorbed. They are too reflective, with little variation. I found that I was always waiting for something more like a beat drop, a hook, or something far-out, which unfortunately never materialised.
Although I do have some song recommendations, because I did find the choir (I think that’s what I meant)sections quite angelic, and the wonderful instruments like the harp, I found most of the record boring. Yes, the album is beautiful and bright with colour, but it becomes a bit too much. Your attention starts to waver after a few tracks. My analogy for it would be that the ground is white with snow, but instead of admiring its beauty, you want to go outside and enjoy it before it melts.
Song recommendations: ‘Sympathy Magic’, ‘You Can Have it All’, ‘Everybody Scream’
I was stunned to discover that Dave hasn’t released an album in over four years, but as the review progresses, you will see why the wait was worth it.
You are probably wondering about why that title? Well, it is a biblical reference from the book of Samuel foretelling the story of King David. Quite funny, really, when the artist in question shares the same name.
The production doesn’t lean towards hip-hop and anything that might resemble a banging tune. Instead, it is more introspective, featuring piano, spaciousness, and ethereal tones. Occasionally, the harp features, and Dave even picks up the guitar on the 6th track.
In regard ot the themes, he focuses on dealing with fame, identity, legacy, being a man, faith, and how he has a sense of duty to his listeners and society. Rather than basking in his achievements, he questions what his roleand voice is doing to lead by example.
Now, part of the summary is out of the way; let’s look at the songs that caught my ear:
History:
The opener sets up the rest of the record. Dave addresses everything about himself. James Blake not only features on the track but also produced it, creating a typical atmospheric soundscape that he adopts, complete with tender piano and reverb space that allows the words to land, allowing the listener to engage with the thought-provoking lyricism from Dave, which is always interesting. I have never found him at a loss for words. In fact, let’s look at that on here. Dave refers back to King David, and as the record progresses, you hear why he uses this biblical figure to illustrate power, vulnerability, and how music heals the soul. Never mind, if the track is not for the commercial market, but rather the lyricism and the matching mood of the music.
Chapter 16:
What more can you say? It features the amazing Kano. I have been a fan of Kane since the early days of grime, so this track was never going to be skipped. The pair trade verses, discussing their legacies, the rap game, and how they feel burdened by representing the scene. Once again, James goes for a minimalist sound with his trademark piano chords and a beat that allows for reflection. Dave pays tribute to Kano, stating that he has been a fan of his since he was 14 years old. Kano also praises his younger counterpart. The song connects all timelines of UK rap, with Dave accepting his role in its future, while also questioning what he wants and what he owes. The track could have easily been one of pure egotism, but Dave shows humility alongside ambition, and, of course, what his legacy is.
Raindance:
Unless you follow her closely, have seen her at major festivals, or watched Later… with Jools Holland, the Nigerian vocalist Tems, who features, will probably have escaped your attention. The Afrobeats-inspired track, over reflective piano riffs, is more light-hearted than the previous tracks. Dave is more playful with Tems. The lyricism focuses on Dave enjoying a night out, where he meets someone, apologises for future relationship struggles, and references the concepts of marriage and property. This track takes him out of his comfort zone with Afrobeats, but it works well with Tems, nonetheless. A bit of a breather from the heavier songs so far.
Selfish:
James Blake returns from the control room with a heavy, moody, introspective, and self-confessional collaboration. Dave examines what fame has cost him in life, including narcissism, and what his ambition entails. Dave also highlights how his bravado is often laced with self-doubt. A typical James Blake production, leaving Dave’s wordplay time to breathe. Another heavy, but lyrically intriguing track.
My 27th Birthday:
This nearly eight-minute track focuses on self-reflection, with Dave looking inward at his legacy, expectations, age, and how he has evolved. Again, the production is more of the same, with a blues-inspired piano riff with looping vocals. The lyrics are used as a metaphor for a day/year that’s in motion or standing still. Dave once again examines his role in society and considers how he can utilise his voice to create a positive change in the world. He also examines how fame can be a burden rather than a blessing, as he feels that people are being cynical about the messages he is trying to convey. They are using his fame as a weapon against him when he is less likely to return to a life of poverty. A very deep listen.
Fairchild:
Dave gives a chance to the upcoming talent of Nicole Blakk and lets her showcase her views, where she discusses being the unfortunate victim of assault, which has triggered a fear of men, and her experience of misogyny. This evokes emotions in Dave about how incels behave, and he questions why his fellow men more often than not turn a blind eye to this unacceptable behaviour. Dave even questions if sometimes he, too, has shown misogynistic traits, which is perfectly portrayed in the line “All know a victim, don’t know a perpetrator, am I one of them?” It may be a heavy listen, but it is what you would expect from him. It’s a deep track with substance. It is refreshing to see a male address violent behaviour towards, whether he has unknowingly done it himself, and how he feels a sense of responsibility to make his fellow man aware of this abhorrent behaviour.
The Boy Who Played the Harp:
The closing and title track uses a sample from The Beatles. The track’s name eludes me at the moment. This track makes the premise of the album all make sense. The name, the purpose, the record’s identity, the burden he feels, and the activism displayed. I love the premise behind the lyrics, as he places himself within historical moments, such as world wars and the civil rights movements. He ponders if, like in those moments, he can speak up, act, and lead when necessary. The title track, like the rest of the album, ends strongly, leaving the listener to ask themselves the very questions he did throughout. Bizarrely, though, there is no harp. Just a piano.
Strengths & Weaknesses
Now let’s address where the record is good, and where it falls down:
Strengths
Of course, it has to be his lyricism. I mean, after all, that is what he primarily is. Dave started as a spoken word artist before moving into rap. I love his wordplay, detail, reflection, and how he uses metaphors.
The album is streamlined rather than a mishmash of songs. There is a constant string of themes that remain consistent.
He isn’t coy about asking himself challenging questions, rather than doing a record that focuses on his success.
If you ask me, what are the highlights of the album? Well, it’s all of the tracks above.
When I get to the song recommendations, I’m going to have a think about what three stood out.
This is up there with his best work to date.
Weaknesses / criticisms
This is not my opinion, but looking at it from a critical point of view, you have to say that James Blake’s production is too moody and lacks dynamism.
The tracks are not chart-friendly, both in terms of lyricism and production. There is also a lack of hooks, which may hinder the number of plays he receives in the mainstream.
Some listeners will feel that the themes are more of the same, and doesn’t bring anything new to the table.
Coda
Although the album may not be that chart-friendly, it is full of thought-provoking tracks, which to me, is always better than sacrificing for the sake of the singles chart. It is up there with his best work so far. You just have to look at songs like ‘Fairchild’, ‘Chapter 16, and ‘My 27th Birthday’ to see the maturity in his writing, and how they all have a purpose. It may not have the hits that have featured on past records, but this is one for the deep thinkers, who will appreciate Dave’s approach. My personal opinon is, I love it. A very strong record that cuts through all the bullshit.
Song recommendations: ‘Chapter 16’, ‘Fairchild’, ‘The Boy Who Played the Harp’
Everyone has been anticipating the release of “The Life of a Showgirl” to determine if Taylor’s engagement has made her lose her creativity, as she might be less likely to criticise ex-boyfriends. The album promised so much, but what I heard was certainly calmer, yet at the same time, quite underwhelming.
It feels like a step backwards from her previous work, lacking the emotional depth and creative spirit we saw earlier in her career. The title suggests something bright, but the record lacks any energy to be considered “bright”. Instead, what we get is Taylor writing an album for the sake of it.
The opening track is a burst of energy that promises an exciting journey. It’s uptempo, with an infectious bassline, and most importantly, it’s original. The track narrates Taylor’s salvation and her blossoming love with Travis Kelce. However, this energy and originality are not sustained throughout the record.
The subsequent tracks lack the depth and musical creativity that the opening track hinted at. ‘The Fate of Ophelia’, ‘Opalite’ offers a glimmer of something more with its sparkling grooves, but fizzles out.
It becomes quite clear from ‘Father Figure’ and ‘Eldest Daughter’ onwards that the album focuses on her ego rather than her growth as an artist. She tries to portray herself as an underdog on ‘Father Figure’ as she did in her younger days. But it just does not work anymore. Her popularity has soared since those days, so she is far from the “underdog.” As for ‘Eldest Daughter,’ well, I am not convinced; she wanted to write this. She is talking about online culture, but it does not feel genuine; rather, she has been coerced into writing about it.
Then, we have the tone-deaf tracks ‘CANCELLED!’ and ‘Wi$h Li$t’, where she attacks her critics, but the song does not land as well; she lives a privileged lifestyle now.
It does not get better, I’m afraid. ‘Actually Romantic’ takes a vicious swipe at Charli XCX (For the record, I do not like her, either), and then ‘Wood’ lacks the charm and wit to be cheeky pop, which appears to be à la mode. She tries to jump on the bandwagon, but does not offer anything fresh. The lyricism alone shows you that she did not feel comfortable attempting to follow the trend. It just is not her style of writing. Probably another attempt from the people above her trying to control her sound. Corporates should leave the artist to use what suits them.
Unfortunately, the record lacks any insight into the “showgirl” persona that the title suggests. Instead, we have pettiness and tone-deaf affirmations. More of the same, really. Her ego has got in the way of her emotional storytelling, which is still within her soul.
Taylor has the world at her feet, and she had the chance to explore new avenues and push the boundaries, but it feels more like an opportunity to make money. It lacks any artistic flair or emotion. Even her partner in crime, Sabrina Carpenter, could not rescue it. Hopefully, she regains her creative edge on the next album.
Song recommendations: ‘The Fate of Ophelia’, ‘Actually Romantic’
Honest Opinions 