Album Review

Week 40: Olivia Dean- The Art of Loving

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I planned to start with a brief introduction to Olivia Dean, but since this is quite a lengthy review, I will leave it until next time. Olivia Dean expresses something that is often lost in today’s society. A society full of anxiety, negative news headlines, and anger. Her second album, “The Art of Loving”, asks the listener to take a moment, listen, and find kindness in their soul. Now, I have never done a review like this, but I am going to use bullet points. Let us begin:


Her vocals:


Olivia’s vocals act as a warm hug, inviting you into her world from the very first note. Her voice has a unique duality, speaking directly to you while also addressing the wider world. The light production, featuring acoustic guitars, brushed drums, brass, occasional piano, and strings, further reflects Olivia’s emotional journey. Her lyrics reflect her hopes, dreams, heartbreak, and above all, her enduring kindness, making you feel included in her story.


What question does ‘Nice to Each Other’ ask?:


Of course, one of the standout tracks is her latest single, ‘Nice to Each Other’. The song depicts two lovers at war during their relationship, but of course, the chorus asks them to be nice, even when they shouldn’t, because they are hurting each other. The track reflects these emotions of conflict and reconciliation. The sublime jazz-inspired piano hook causes the track to swell after each verse, before dropping into a chorus where Olivia’s vocals take the limelight over a reverberating snare drum. The production is quite clever here, as it shows us that even through ill feelings, a soft approach can be taken, rather than a knee-jerk reaction leading to a blazing row and plenty of volume.


Her love of lounge jazz to mirror empathy:

Olivia’s passion for lounge jazz is beautifully captured in ‘CloseUp’. The track’s unique features, such as the muted trumpets that accompany her sincere and softly spoken apology, the brushed drums, the laid-back bass, and the saxophone that mirrors the lyrics, make it a standout piece. The profound lyricism is certainly a highlight, but the true beauty of the track lies in how the instrumentation breathes life into the song, creating an emotional connection that allows the listener to find their personal experiences within.

The versatile message in ’So Easy to Fall in Love”:

A track that says let your inhibitions go, but also to tread with caution. The title is apt because it is indeed easy to fall in love, get caught up in the moment, and become naïve to the pitfalls that will eventually occur. The production reflects this by using the electric arpeggiated piano and a bright sound to convey infatuation. Her vocals are once again tender, but warm.


‘Something In-Between’ showing the selfish side of love:


Olivia has created a record full of blissful stories about love, but she was also not shy about discussing the other side of it. She talks about protecting one’s worth and standing her ground to avoid being taken advantage of. The track itself is aptly played in the minor key range, featuring a lightly strummed acoustic over a low synth pulse. Reflecting the sense of being at ease with standing your ground, but also knowing that not losing face can be risky to the relationship.


The three-part coda:


While most albums end with a simple coda, Olivia has included the final three tracks, ‘A Couple Minutes’, ‘I’ve Seen it’ and ‘The Last Note. ‘I’ve Seen it’ is about her discussing love with a conviction she feels has never been done before. One particular lyric highlights this: “I’ve seen the movies, I’ve read the poems, but the real love that sticks is the one that hurts enough to matter”, and she is right. It does. Most romantic songs have an air of pretence about them, but Olivia has done it more genuinely. For the first time, an electric guitar is utilised as it bends, representing a sigh, while a light harmonica blends into the background.

Why the album shines a light on being kind:


As mentioned earlier, we live in very evil times, and “The Art of Loving” illustrates that kindness is often frowned upon in society because it is seen as a sign of weakness, and individuals can be easily taken advantage of. However, Olivia has used it to show that being kind is a good thing and as a form of rebellion.

Let us have a look at the tracks I have been discussing, then what they teach us about being kind:

Nice to Each Other:

Even if we have ill feelings towards someone or something, we can choose to show kindness instead of responding in a way that worsens the situation.

CloseUp:

Before rushing in with all guns blazing, we should take a step back and assess the situation to understand it before deciding on the appropriate action.

So Easy to Fall in Love:

Yes, it is pure bliss to feel in love and grow stronger because of it. It may leave our hearts open, but we should embrace it, rather than see it as a weakness.

Something In-between:

Be in a loving relationship. But make sure you can stand your ground, so one person does not dictate the relationship. The balance will ensure the relationship is healthy.

I’ve Seen it:

Love is not perfect. It has its pros and cons, as with everything in life. Give both the rough and the smooth a warm hug.

The lyricism is profound, and her vocals are like standing next to a warm radiator, making you feel warm and cosy as the songs radiate with kindness. In a world that sees love as a weakness, she sees it as a strength. She does not know the answers, nor does she pretend to, and she refuses to be a wallflower about asking. That is why the record shines a light on being kind.

Outro:

Olivia’s album paints a picture of a world where the need to express thoughts is as urgent as a megaphone’s call. Yet, Olivia’s voice rises above all the noise, calling for whispers of kindness, devoid of any expectation of grand gestures in return. She invites us to listen, to pause, and to harmonise with the gentle sound that embodies humanitarianism. Her goal is to evoke a fuzzy, humane feeling, which she more than delivers. Her message, both thought-provoking and steeped in kindness, is a rare and precious find in the 21st century when it comes to love.


Song recommendations: ‘Nice to Each Other’, ‘CloseUp’, ‘So Easy to Fall in Love’

9/10

Week 39: Biffy Clyro-Futique

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Welcome to the review of Biffy Clyro’s tenth album, “Futique”. Astonishingly, the band have been around for thirty years. My introduction to them was way back in 2010, as I suspect is the case for the majority of us. The record is once again an album that’ll lend itself to a headliner at a festival like Download or their local TRNSMT as they look out to thousands on Glasgow Green. Not only that, but they also have their own tour in vast arenas like the Hydro. In a world that is frequently bleak, Biff shines a light with a record full of headbangers, momentarily taking us away from the gloom.


The record features 11 standard-sized songs. The opener, which many of you would have heard on their current tour, at festivals, and on the radio, ‘A Little Love’ delivers fierce energy over a positive message. The band have been quiet for four years, which is their longest lull to date. Many wondered if they would return after “The Myth of the Happily Ever After,” but instead, the band spent a period of reflection, dealing with personal issues, and James Johnston was unfortunately confined to his bed. Simon Neil and the Johnston brothers, James and Ben, bring this into a sharp focus on “Futique”, albeit mainly over the kind of rock we know them for. As with any album, there is the odd downtempo ballad thrown in.


What is interesting about ‘A Little Love’ is that, although it is unmistakably a Biff track, it has more of a pop element to their usual raw sound. Despite the cleaner sound, it does not detract from the fact that it boasts excellent lyricism and a catchy chorus that’ll be belted out when they perform it.


The band have come a long way since being teenagers plying their trade by learning Nirvana songs in a pokey garage. However, that spirit hasn’t been left behind, as evidenced in the second track, ‘Hunting Season’. A track that calls out anyone who tries to be a people-pleaser. The track reminds me of Muse, for their rebellion, and The Hives, for their confidence, but the band still maintains its identity—an anthem for those who wish not to conform and remain true to themselves.


’True Believer’ tells a story of being a band member and what it’s like returning to familiarity after a lengthy period. The individual in question is frontman Simon Neil, who realises that being in a band with the brothers is what he still wants to do. The production itself features xylophones and a more complex style of drumming.


Of course, as with every album, there is the obligatory ballad, and the band’s one is the aptly named ‘Goodbye’, where they bid farewell to their latest era, where James ended up bedridden through mental health, as mentioned earlier in the review. The track also addresses the bad habits of killing time while being in the band.

The track is followed by the more upbeat ‘Friendshipping’, where romantic and platonic relationships are at the heart of the matter. Of course, that is balanced by ‘A Thousand One’, where mistakes lead to the end of a relationship, and then another ray of sunshine enters with ’Two People in Love’. That one is self-explanatory.


This is Biffy in their domain, where they show confidence and are more than happy to share their life experiences, including their personal struggles. The record does not have the best start, but that is more a result of the production rather than the exemplary songwriting.

However, as usual, they return to form as the album progresses. What is refreshing about ‘Futique’ is that Biffy Clyro have not phoned it in to get money out of the fans, but rather have thought it all through and released a record that is more than a match for their back catalogue.


Song recommendations: ‘Hunting Season’, ‘Two People in Love’, ‘True Believer’

9/10

Week 38: Ed Sheeran- ▶️

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No need for an introduction, so let’s get straight into it. The opener is ‘Opening’, where Ed adopts one of the key things that propelled him to stardom: rapping. Ed talks candidly about how he feels in a precarious place with his career, and frictions are occurring behind the scenes. The vulnerability contained within the lyrics and the flow shows that he is concerned by the events, and does not want them to reappear from his past. This does not set up the rest of the album, as you will find out as you read on.


Ed sticks with the tried and tested material for which he is known, and has so far borne fruit for him. ‘Opening’ seems somewhat out of place. His latest single, ‘Camera’, is a typical Ed track, where he discusses finding an old phone that evokes memories of conversations with all his exes, as well as conversations with his friends who are no longer with us, such as SBTV founder Jamal Edwards. A channel that championed Ed’s rise. The rest of the song delves into his personal memories with his wife, Cherry, rather than reflecting on the past conversations mentioned earlier.


New tracks like ‘In Other Words’ are aspiring to be ‘Perfect’, and my favourite ‘The Vow’, a touching ode to his wife, is reminiscent of ‘Thinking Out Loud’. I also love the uptempo of ‘A Little More’, with the sinister lyricism about hating your exes, and Ed showing little empathy towards them. The lyricism attempts to be humorous, but I can imagine it will not resonate with the Generation Z and below crowd.


Ed momentarily steps into the unknown, and that is where he showcases his versatility with tracks like ‘Azizam’, which combines a club track with Middle Eastern instruments. On ’Sapphire’, he collaborates with the Punjabi superstar Arjit Singh, and he even combines English vocals with Punjabi. He also teams up with Jayesh Kathak for tabla rhythm on ’Symmetry’. Ed shows that, despite being out of his comfort zone, he is willing to throw himself into these new avenues.


It was refreshing to see Ed collaborate with Indian, Khaliastani, and Iranian artists. Despite his claim to be apolitical, this collaboration seems to convey a defiant message that we are all equal, and it sends a pointed message to the far-right nonsense we are currently witnessing. Who cares if his songs preach love? That is exactly what we need more of at the moment. It is also a welcome escape from current affairs.


The final track ‘Heaven’ reminds me of Bon Iver, and I believe Ed has mentioned he is a fan of theirs, so it is not surprising to see him adopt their vocal effect for a second time (I cannot recall which album it was utilised before). Although I would have preferred that he ended on ‘The Vow’. It is such a sweet love song.


The record shows a more personal storybook about his struggles with fame and the music industry, but Ed, quite rightly, also revisits an old path. The last two albums were very heavy, considering what happened to his wife and the deaths of his friends.

He did express that he wanted to make a more upbeat record because of the last two. Hopefully, on future albums, we will see Ed do more songs exploring the Middle East. As for something more personal than he has yet to attempt? If he wants to do that, then that’s up to him. Regardless of the subject, it is likely to reach number one due to his status. Taking a risk in that sense will pay off.


Song recommendations: ‘The Vow’, ‘A Little Bit More’, ‘Symmetry’

7/10

Week 36: Sabrina Carpenter- Man’s Best Friend

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Well, let’s start by mentioning the provocative album cover, where it appears that Sabrina is ready to perform a sex act, and the face-hiding man is pulling her hair. You may have noticed she has done the same pose, sandwiched between two male dancers, on her tour. Also, the record is called “Man’s Best Friend”. Now, everyone knows that phrase relates to dogs, so is Sabrina insinuating women are like dogs? Now, as you know, I reviewed her last album and was left impressed by it, but this one is certainly not for the faint-hearted. Sabrina talks candidly about sex in all its explicit glory, and swears an awful lot.

However, rather than trying to appear controversial, the music has to back that up, but alas, it does not.


Unfortunately for Sabrina, the chart landscape has changed, and once what might have been too much is now seen as tame, which is shocking when we have children as young as four being exposed to the sexually explicit content featured on “Man’s Best Friend”. As I am an adult, I could not give a shit about her saying that, and I found humour within it, but it is not for any child below a certain age to be exposed to.

Additionally, the album is too polished, as evident in ‘Manchild’. I like it, but the production and her wordplay conceal the message that she is trying to convey, so it goes missing. Now, as a songwriter, I am sure Sabrina would want that message to be heard.


Now, I have mentioned the lyricism is both sexually honest, funny, and witty, but that is as far as it goes. Rather than going deeper into the subject behind the songs, Sabrina leaves that up to the listener. Now, this isn’t a bad thing, but on this occasion, it is. She needed to make a connection with the listener about the deeper meaning behind songs like ’Never Getting Laid’, ’Tears’, ‘We Almost Broke Up Again Last Night’, which, as I said, are sexually explicit and contain the occasional fuck word, but there is nothing else.


Unfortunately, Sabrina has sacrificed artistic creativity for commercial outreach. Although the album may have an element of shock value with the lyricism, she unfortunately does not explore other sounds, so you end up with a safe record. On one hand, this could be seen as smart and doesn’t alienate her core fanbase, but on the other hand, the predictability of the subjects and the production on offer takes away the soul of the music. Rather than challenging the listener, she gives them what they want. Well, her core fanbase, at least, but nothing for the casual listener, who will see it as the usual pop album that every female artist is churning out at the moment.


Despite the lack of substance. Sabrina’s vocals are once again incredible, and it’s nice to see her flirt with country music occasionally. She needs to do more of that because she excels in that field. As we all know, despite the glaring flaws I have highlighted, Sabrina will have another successful record under her belt. Yes, it is number one, but it will receive accolades because the commercial market loves an album full of catchy pop songs. That is just how the commercial scene works. It does not matter if the record lacks on a deeper level.


When artists such as Pulp frontman Jarvis Cocker and Lola Young can merge on a deeper level within pop, it is sad to see artists like Sabrina being bound to what pop expects. Sabrina is a brilliant songwriter, and she should have given more behind her barbs to the men behind the album. I believe it is her ex, Barry Keoghan, instead of giving us bitchy lyricism with no deeper meaning. The two artists I mentioned prove that you do not have to be bound to the constraints of pop. Hopefully, Sabrina offers more on her eighth studio record, because she is more than just a pop artist.

Yes, we have catchy choruses and pop-friendly production over a fleeting half-hour listen. Most songs fall well below the three-minute mark. Music that I describe as “TikTok generation”, but there needs to be more to it. Sabrina is capable of doing that if she frees herself from the confines of generic pop.


I would also like to add that you should not let your kids listen to this. They are far too young to be exposed to such sexually explicit content. This is strictly for teenagers and adults.


Song recommendations: ‘We Almost Broke Up Again Last Night’, ‘Manchild’, ’Tears’

5/10

Week 35: Wolf Alice- The Clearing

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I recall telling you all that I was impressed with their previous album, “Blue Weekend”, which was released four years ago. As we all know, that is a long time in music; therefore, it is easier to be yesterday’s news. However, the period between “Blue Weekend” and “The Clearing” has seen them remain fresh and avoid the block, and they have certainly been working hard to make something special.


Markus Dravs was the producer last time, and this time they have employed another top producer, Greg Kurstin, and dare I say it, but he has bettered what Markus did. We have frontwoman Ellie Rowsell’s soul laid bare in songwriting and fantastic vocals with profound instrumentation. This record, much like “Blue Weekend”, is more autobiographical regarding Ellie, where she delves into her life experiences with utmost honesty.


Wolf Alice have never shied away from exploring new sounds despite them being heavily pigeon-holed in the indie punk category. There are new layers with every song you hear. Even though the band have been together for going fifteen years, the chemistry is still there, and it appears they are tighter than ever.


The opener ’Thorns’ shows their intent. Ellie confesses to being a narcissist and a masochist on this storm-cloud ballad. Quite a surprise to hear her say that. You would never have her down as a narcissist. We then have the confidence of the lead single,’ Bloom, Baby, Bloom,’ featuring a drum and bass element. We then have a track called ‘Just Two Girls’, which celebrates friendship between two females. The intimacy of this friendship is so palpable that it will resonate with the listener, evoking a deep connection.


However, it’s moments like ‘Leaning Against the Wall’ that capture the meaning behind Ellie’s lyricism and just an acoustic guitar on the folk track to drive the point home. Another one that highlights Ellie’s words is ‘Play It Out, which is a highly emotional piano ballad that will certainly move the listener. It addresses Ellie opting not to have children, but maybe as she grows old, she might repent at leisure.


Yes, the album has quite a bit of introspection, but it never becomes overly introspective. We have rock-pop energy in ’Safe in the World’, ‘Bread, Butter, Tea, Sugar’, and ‘Passenger Seat’to lighten the mood. It showcases the band’s ability to transition seamlessly from raw energy to introspection.

The end has two tracks that are in each of the spectrum: ‘White Horses’ offers the energy, and my favourite track ‘The Sofa’ sees Ellie reflect on her life and what she desires over tender instrumentation that is quite dreamy. It is indeed a track that took me by surprise when I heard it on Later…with Jools Holland, in the spring, because it is nothing like I have ever heard them do before.


You will hear several influences, including Florence and the Machine (Markus is known to produce for them), The Beatles, the late Sinéad O’Connor, Portishead, and, dare I say it, Taylor Swift. Having said that, Wolf Alice still maintains their identity. What the band have achieved on this record is how the emotion increases track after track, leaving the listener feeling the impact. Of course, the album is not complete without Ellie’s unmistakable vocals that range from intimate and soul-bearing to the power we hear on the high-energy tracks.


“The Clearing” showcases the band at their most confident, fearlessly displaying raw emotion and delivering tracks that are destined to be timeless. The album’s frank honesty, although it may be slower-paced than their usual style, is refreshing and showcases their versatility. I am certain that this record will receive several accolades shortly.


Song recommendations: ‘The Sofa’, ’Safe in the World’, ‘White Horses’


9/10

Week 34: Tom Grennan- Everywhere I Went Led to Me to Where I Didn’t Want to Be

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Tom’s latest album is more than just songs to add to his growing repertoire; they are from his soul. “Everywhere I Went Led Me to Where I Didn’t Want to Be” sees him explore new sounds over fifteen tracks. He delves into his struggles with his self-belief and the confidence he has gained since those times.


Yes, Tom still has that pop-friendly sound we have associated with him since the debut record, but he isn’t afraid to flirt with a diverse range of sounds. Jazz features on ‘Certified’, disco on ‘Lonely Dancer’, and ‘Drama Queen’ with a touch of rock. This album offers a plethora of genres, characterised by frank lyricism and raw vocals.


On the surface, the record contains sing-along anthems and tracks you can dance to, but underneath you can see the vulnerability in the lyricism and of course his vocals. He discusses batting his demons over uplifting instrumentation, which represents his defiance against them.


Justin Tranter encourages Tom to use trumpets, arpeggiated piano, and, of course, find new harmonies within his vocals that captivate the listener as we go on a journey of his life.


’Somewhere Only We Go’ is a standout. The track has a blend of change and growth, sharing memories along the way. The steady tempo, drums, and a swelling guitar riff complement Tom’s vocals.


The tempo drops on tracks like ‘Cinnamon’, where he is more tender in his delivery. The track also welcomes the second half of the album. A departure from an energetic first half.


Another track similar to ‘Cinnamon’ is ‘I Won’t Miss a Thing. ‘ This emotional track is a piano ballad, where Tom can really let his emotions go, where he addresses life and even though those who have passed on still remain with us, albeit in spirit—a track where reflection is necessary.


Of course, you have tracks full of energy like recent singles ‘Full Attention’ and ‘Boys Don’t Cry’ that firmly fit into the rock category, and I will add ‘Full Attention’ to my song recommendations, but overall, the record is another feather in his cap. We have his vocals blending with the variety of instrumentals that show his ability to express power and tenderness where required. The sound may be on the whole uplifting and fast tempo, but as mentioned earlier, when you listen to the lyrics, you will hear a sadness in his soul, defiance, and maturity. My only complaint is that most of the songs are far too short. Just as you are getting into them, they are over; apart from that, the record displays every side of Tom.


Song recommendations: ’Somewhere Only We Go’, ‘I Won’t Miss a Thing’, ‘Full Attention’


7/10

Week 32: Reneé Rapp- Bite Me

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Track-by-track review:

Leave Me Alone:

If I weren’t doing a track-by-track review, I would give an introduction to Reneé Rapp (I did plan to do a brief, but unfortunately, brief wasn’t all that brief.), but what you will discover through this is that it embodies her whole devil may care attitude, and how she lives life how she pleases. She will only do whatever makes her happy, rather than appease people. This is what appeals to her fans, and people like me, who have only just discovered her. As the review goes on, you will see that she is outspoken and isn’t afraid to use expletives or throw in the occasional comedic remark. Such as this track, which has lyrics like “Manager called said ‘where’s the single?”. She also expresses she wants to have fun over business matters. She also references The Sex Life of College Girls, a show that I think is on ITV2 at an early hour on a Saturday—a show where she coincidentally appeared. The reference calls out fans of the show, who are less than impressed that she left it to pursue music.

Mad:

This acts as the second single, which is a pop anthem about having an argument with her lover, and wanting to make amends, but the lover is hurt and won’t accept the apology. She tries everything to make amends, but her lover refuses to lose face. She goes on to attack her lover by accusing them of fucking with her head, and therefore has had enough, and lost the energy to fight. All of that aforementioned takes place in the chorus. The song itself resonates with the listener because we have all been through this at some point in our love lives. It is a classic pop track.

Why is She Still Here?:

This emotional piano ballad was the third and final single to be released off “BITE ME”. This blues-infused R&B track fits in with her vocal range. The focus is on her begging her significant other to let her or another woman go, because both are being played. You can hear this frustration in her vocal delivery and by the lyricism used. She also finds it hard to let her lover go, even though she feels she is being treated as a bit on the side.

Sometimes:

This is basically the second part of ‘Why is She Still Here?’, but instead of showing her frustration, Reneé displays more resignation as expressed in the chorus. She pleads with her lover to let her go. A highlight of the track is her lyricism and falsetto.

Kiss it Kiss it:

From the emotional piano ballad to pure pop energy. Do not let your kids listen to her as she gets very sexually intimate. I imagine it is about her current girlfriend, Towa Bird, whom I believe was her on-screen fling in the television show mentioned back on ‘Leave Me Alone’. It’s about the journey from despair to the ecstasy of being madly in love. There are some great comedic lines in this, such as “She asked how I like my breakfast?/ I told, ‘hot on the bedroom floor’. There is also one about making love and almost getting pregnant, even though that is impossible with two women. The lyricism, as you can see, is full of comedy, but also addresses the passion and sexuality between them. Regarding the soundscape, it contains a catchy drumbeat coupled with a bouncy bassline.

Good Girl:

The title explains it all. She talks about how she used to be a good girl. She says she has a safe lifestyle in favour of drugs, and living in the fast lane. She expresses that her new life is disappointing her father. This 80s synth pop track is the second part of ‘Leave Me Alone’.

I Can’t Have You Around Me Anymore:

This acoustic guitar ballad explores the theme of falling in love with a friend, but questioning whether these feelings are genuine, despite her having a girlfriend, which is affecting her relationship. Her vocal delivery is apt for the reflective nature of the track. As the track unfolds, she tells the friend she has feelings for to end all forms of contact, because she cannot deal with having her around while she is in a relationship, and is scared of losing both women.

Shy:

I have failed to mention it so far, but I do sense a Ke$ha vibe with her both spiritually and vocally, and this song would belong in Ke$ha’s early 2000s era. You notice the ongoing theme of the album is based around her girlfriend. This song expresses that she is behaving oddly for her because, instead of being smitten, she is used to being quite volatile. For once, she feels shy as the title suggests, and therefore wants Towa to snap her out of it. However, these emotions are all contradicted in the bridge, where she embraces being shy.

At Least I’m Hot:

You may think the title suggests a moment of egotism, but no. She is talking about herself ironically. The track is quite dark because it talks about being depressed and overwhelmed by everything surrounding her.

I Think I Like You Better When You’re Gone:

The title is very misleading because as you start to listen, you can hear the R&B ballad is full of emotion about her ex-girlfriend, and recalling when they were together. In the first verse, she expresses that she is happy when she isn’t around and hopes she never returns because she has made peace with the relationship approaching its end. The second has more reflective lyrics, but it is her guilt during her delivery that adds to the authenticity of the story.

That’s so Funny:

One thing I appreciate about her tracks is her knack for sarcasm. Not many Americans understand irony, but she certainly does. She aims at an unnamed individual who has spoken ill of her, putting her in a negative light. She also references the television series in which she was in the second verse.

You’d Like that Wouldn’t You:

She doesn’t hold back on the final track as this action-packed song contains sarcasm, her delightful vocal range, and a lush soundscape. As you can imagine, Reneé brings attitude to the table, taking aim at another ex-girlfriend and saying she wants her back, because she cannot find anyone better. I thought Olivia Rodrigo was blunt and honest, but Reneé Rapp takes it to a whole other level.

Song reccomendations: ‘You’d Like That Wouldn’t You’, ‘Leave Me Alone, ‘Good Girl’

9/10

Week 31: The K’s- Pretty on the Internet

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My introduction to the Merseyside band came from a Mod film from 2020, and I’ve also been following several mutual fans on Twitter, so I have been in the loop, so to speak. I didn’t realise how good they were until I saw their cameo in the film. I’m shocked it took four more years to release their debut album, which I’ll discuss shortly. This band is phenomenal, and for me, they are the next Arctic Monkeys. “Pretty on the Internet” proves that. 


So their debut was titled “I Wonder if the World Knows?”, released only last year, which did not get the credit until after its release, but never reached the top spot. I do not know why. It is brilliant. You can see why the guitar-driven indie rock reached No. 3. It was always going to be tough when they faced stiff competition from Beyoncé and fellow rockers The Libertines. Both of the latter reached the top spot.

Here is how good it really was: it was named the second biggest debut record of 2024. You can see why the second album has soared to the top spot. They are growing a devout fanbase and have the passion and drive to be a success. As mentioned in the Wet Leg review, it is always a challenge to exceed expectations on the second record, but The K’s have done that.


They have started where they left off with “Pretty on the Internet”. They have found their identity, which includes melodic guitar riffs over a powerful and fast-tempo wall of sound. Akin to their counterparts, Arctic Monkeys, The Libertines, The Coral, DMAs, bands like that.

However, underneath all the noise, is frontman and chief songwriter Jamie Boyle’s more delicate nature as he writes songs that are laced with vulnerability and honesty.

Something that will be highlighted in the following paragraph. His lyricism relates to the listener, and his vocals are strong and clear. Showing his ability to write songs in the background and lead the band onstage.


Returning to Jamie’s vulnerability and honesty. That shines through on the lead single ‘Breakdown in My Bedroom’. He addresses, with frank honesty, his struggles with mental health. Saying that, even though he is in the limelight, he tries to hide his actual emotional state underneath his onstage persona. Then we have anthemic tracks like ’The Bends(Here We Go Again)’, which shows the band’s ability to craft melodies, and choruses that the crowd will be singing back to them during their live performances on their forthcoming tour. At present, I believe they are also doing the festival circuit. This is why the atmosphere during their gigs is electric. The record is set to be played in full during five gigs next month.


The album isn’t just all about guitar solos or pulsing drums. There are more tender moments as heard on ‘Helen, Oh, I’, where strings and the pianos are at the heart of the track. It gives you a chance to catch your breath from a record that is otherwise going at 100mph. I love the synchronisation between Boyle’s reflective lyrics and the exemplary instrumental arrangements. They have treaded new ground with some more introspective tracks, and I do not doubt that they will continue to explore that.


The album closes with ‘Perfect Haunting’, a track that further pushes their horizons as they flirt with a more theatrical sound. It’s something to look forward to on future tracks as they show their expanding versatility. The band fuses pop-punk rhythms and raw energy with punchy rock, flavoured with indie songwriting by Jamie.

And it’s this unique blend that is not only proving popular among their peers but also attracting a growing fanbase. As they look to rise through the ranks, it’s clear that you, as part of this movement, are in for an exciting journey.


The band are not interested in being a band for nostalgia, but rather rhythms and hooks that belong in the now. They are also outshining their peers with their distinctive wall of sound. With two outstanding records under their belts, watch them grow from support acts to headliners. I thoroughly enjoyed the listen, and I think you will too.


Song recommenations: ‘The Bends(Here We Go Again)’, ‘Breakdown in My Bedroom’, ‘Perfect Haunting’

9/10

Week 30: Alex Warren- You”ll be Alright Kid(Chapter 1)

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Alex Warren is a YouTuber with personal storytelling on his debut album “You’ll be Alright Kid (Chapter 1). Now, the original came out in September last year, but has been bolstered with further tracks in the updated version, which has seen him soar to the top spot. We hear about life experiences, fears, and the importance of self-acceptance, all set to the backdrop of pop music.


Despite my limited knowledge of his online persona, one thing is sure: he is a talented songwriter who can deeply connect with his audience. His lyrics touch on themes of vulnerability, struggles with fame, past traumas, and the journey to inner peace. His tracks are not just songs; they are a personal journal set to music, offering a glimpse into his troubled soul and aspirations. He speaks to his younger self, assuring him that the pain will fade and his fighting spirit will emerge.


As I mentioned earlier, the record has pop soundscapes, but more alt-pop, and of course, his brilliant songwriting. Synths can be heard along with the acoustic guitar and heartfelt vocals. The lyricism is never overwhelmed by the clean and polished production. Of course, if you’ve listened to any of his songs, you will know they are extremely radio-friendly, but it is his delivery that gives them that real emotion. This is more evident on his confessional tracks.


The album strikes a chord with the listener, delving into the trials of mental health, the experience of being an outcast, and the complexities of teenage life. These themes have been the driving force behind his growing fan base. It’s inspiring to see a YouTuber transform into a serious musician. His sound, at times, bears a resemblance to Myles Smith, making it difficult to distinguish their songs, especially when a new one is released.


There is a song for every listener, which is why he can easily connect with them. I am looking forward to his second record, hoping for a bit more rock.


Song recommendations: ‘Troubled Waters’, ‘Carry You Home’, ‘Burning Down’

8/10

Week 29: Wet Leg- Moisturizer

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Since their self-titled debut, which I reviewed, everyone has been longing for their follow-up, “Moisturizer”. I’ve heard a rumour that the band (which is actually a duo) is planning to release their own brand of moisturising cream, and this album has been released in conjunction with it. That could all be nonsense, but who knows? I must say, before I begin a more in-depth review, that I found it fantastic. It is fun yet tender, with catchy lyrics, playful references that we have come to expect from them, new soundscapes, uplifting, and plenty of love. As I mentioned earlier, they’re a duo, but I have just done some quick research and discovered they are now a five-piece band. It is always tricky to emulate the debut record, but they have avoided the second album blues. As I mentioned, it features new soundscapes, which make them more emotionally intimate, but they still retain their identity.


We begin with ‘cpr’, a song currently being played to death on BBC Radio 1 and Radio 2. It is a song about falling in love set to a high-tempo beat, driving guitars, and full-on rock. Let’s examine some of the lyrics. There is a part where frontwoman Rhian Teasdale says, “Hello, 999, what’s your emergency?…Well, the thing is…I’m in love’ was delivered in her trademark raspy and gaspy vocals. It is both cheeky and clever lyricism. It sets the tone for the rest of the album, which is based around love. The soundscapes include 80s pop-punk and, of course, 90s indie rock. They have been discussing very deep and emotional things, but they still maintain their fun side, so the listener remains engaged rather than getting discouraged from listening.’


liquidize’ follows, a track about anxiety and wanting to desire without delay, for example. “It’s not like me to fall over heels-I melt for you, I liquidize- I want you to want me all the time’ speaks to the majority of us because when we are infatuated, we want to rush straight in, and push things forward in a relationship before it is given a chance to breathe. ‘catch these fists’ is up next, and I absolutely love it. The leading single features fuzzy guitars and garage-rock foundations, accompanied by flirtatious and sometimes threatening lyrics. It is in-your-face with plenty of attitude.


‘davina mccall’ is a soft, romantic track that leaves us pondering its connection to a television presenter. The band’s use of pop culture references, such as Davina McCall, in the chorus, is thought-provoking. They have a knack for transforming what might seem like ‘mediocre things’ into something deeply personal, which shows their creativity. This was previously demonstrated when they incorporated numerous Mean Girls references into their self-titled debut.’


‘mangetout’ sees the band further flirt with new soundscapes, as they turn into half-post-punk, half-sensical slogans, and half-whimsical daydreams. It is sure to be a success when performed live. One of the great aspects of the record is the balance between sincere vulnerability and the band’s playful nature. The tempo slows during ‘pond song’, with bassist/guitarist Hester Chambers confessing that she has “never been so deep in love” over tender guitars and a dreamy soundscape.

Then comes the extremely intense ‘pillow talk’. This raw track with pulsing addresses wanting to do everything imaginable with a crush.


The last three songs condense everything that has come before. ‘don’t speak’ uses clever language, ’11:21’ acts as someone eavesdropping on a personal, and intimate late-night call, and to complete the trio is ‘u and me at home’, which is a sweet love song. It serves as a reminder that even though the last three tracks are more tender and downtempo, they reflect that the loudest statements of love are often found in the quiet.‘


Of course, their debut was littered with songs about partying, crushes, film references, playfulness, comedy, sexual innuendos, and quick-witted one-liners. Well, their second record still includes all that and then some. The songs are bigger sonically, revealing a deeper side.


It is nice to see that the band is not a one-trick pony and will be around for a long time. This album showcases the band maturing, but just enough to preserve their fun and humorous side.


Song recommendations: ‘catch these fists’, ‘cpr’, ’11:21’

9/10