Album Review

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

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

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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

Week Nineteen: Kasabian- For Crying Out Loud

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One of the last bands of the pre-social media generation, Kasabian have still kept the fire burning and continue to keep doing rock n roll after their predecessors, Oasis, very much alive and relevant in an era where the singles charts are being saturated with piss poor lyrics and instrumentation. “For Crying Out Loud” shines a light on the whole music industry and makes you punch the air triumphantly, knowing that the likes of Kasabian can still crush the pathetic pop we hear in the singles charts when rock music was supposed to be well and truly on its last legs. I noticed with the record that Serge Pizzorno is heavily influenced by Tamla Motown, which can be heard on the mid-tempo tracks like the opener, “ill Ray(the King)”.

There’s also a nod to a band who benefited from those heady days in the mid-90s that constantly appeared on Thank Four It’s Friday, Mansun with the track “You’re in Love with a Psycho” akin to “Stripper Vicar”.

There’s also a change in attitude from vocalist Tom Meighan who, for the majority of the record, leaves behind his cocksure and sneering delivery. The best thing to happen to Tom in 2016 was that his beloved Leicester City won the Barclays Premier League (2015/16) after surviving relegation the previous season and was unanimously predicted to be relegated. Still, they defied the odds with a squad of rejects led by the charismatic Claudio Ranieri to make a fantasy played out usually in games like FIFA become a reality. Other than that, it was a turgid year for Tom, having to get over a relationship and living out of other people’s pockets, in stark contrast to Serge, who loved every moment of his life. The attitude is still on the record, but as you can imagine, this time around, Tom is displaying the pain of having to move on after a breakup. Although Serge is the chief songwriter for the band, on the track “Put Your Life on it”, which in fact closes the album, you can hear that Serge’s personal lyrics to his wife affect Tom, and you can listen to the emotion quite evidently in his vocals. Is this more humble side a new direction in Tom’s delivery? Only time will tell.

Of course, don’t be fooled by these new tamla motown and psychedelic sounds to the band because we also get the typical Kasabian wall of sound with tracks like “Come Back Kid” and “Are You Looking for Action?”. Credit where it’s due, though, to the band venturing out of their comfort zone and willing to experiment, which can be heard on “All Through the Night”, which appears to be the slowest track they have ever done. Then, you have one that will definitely cause much debate over the whole of the industry, and that’s the reggae themed “Sixteen Blocks”, albeit there’s a very catchy chorus that is so exquisite that it would send chills down your spine hearing it sung by a crowd with their arms aloft at stadiums, arenas and outdoor festivals. Remember this, Oasis thought very highly of Kasabian (to the point where Kasabian wanted Noel Gallagher to join them after Oasis split.), and Noel Gallagher would approve of this being quite a big fan of the legendary reggae star, Bob “Tuff Gong” Marley so, for all you Kasabian hardcore fans readying yourselves to slate this track bare that in mind.

This record has a very gritty production with Tom’s more humble delivery and Serge’s guitar shredding that fit nicely over the top. I can’t tell you if it will get the critics to finally give the band credit they have moaned about not getting over the last few years, but it will make the critics sit up and take notice that Kasabian is more than just stereotypically Indie. The record also proves that Kasabian is not dead in the water and remains relevant with Tom’s more humble delivery and Serge’s guitar shredding. A bit of trivia here to end this review, the guy on the album cover is one of their roadies.

9/10

Week Ten: Ed Sheeran- ÷

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Divide

Eraser:

One thing that struck me when hearing this track is that it has a certain sense of “You Need Me, I Don’t Need You” feel. He foretells how his life has been since he reached superstar status and its effect on him, from those days of just singing in a church, performing in a room to internet viewers and playing out to thousands in well-known stadiums and arenas.

Castle on the Hill:

This song is about being raised in the Suffolk village of Framlingham. It also shows a specific humbleness to the guy who has gone on to be far more in the grand scheme of things. He still remembers where he is from and speaks fondly about the memories he made there.

Dive:

Here, Ed expresses fears about falling too fast into a new relationship. A heartfelt song, which also features some might say a guitar Legend in Eric Clapton. Not for me, but Ed sees Eric as this, and the very first thing Ed performed live in a talent show on guitar at 14 was Eric Clapton’s “Layla”, albeit the rhythm section of the song (He didn’t win the contest, by the way).

Shape of You:

Another song about romance, and this time, it is about praising his lover and enjoying every moment with her. It’s also your typical pop song, which will get stuck in the listener’s head, and Ed puts his hallmark all over it to make it stand out from the rest of the artists in the singles chart.

Perfect:

Another tender moment, which Ed has been known for on his previous albums, makes its way onto “÷”, and why not? This is where Ed shines through and shows his maturity beyond his years. It is also an ode to his girlfriend, Cherry Seaborn. You can’t help but be gripped by the lyrics, “Well, I found a woman, stronger than anyone I know. She shares my dreams, I hope that someday I’ll share her home”. This encapsulates the whole meaning of the song, where you hope your dreams and future are mirrored by the one you have chosen to be your eternal lover.

Galway Girl:

What I love about this is the whole sense of Ireland, from the music, instruments and Ed’s knowledge of the isle. It features an Irish band called Beoga. To think his record company were far from keen to have this rather unconventional song feature on the album because it doesn’t represent a “marketable” product. How wrong they are. Some listeners may not agree with me and find blending pop into Irish music rather insulting. Still, for me, it really works, and I really like this song and can see it featured on many a St Patrick’s Day across the pubs, bars and clubs. And why not? It has an excellent upbeat feel and will help set that jubilant mood on any occasion.

Happier:

This song is relatable to every listener, not just Ed, because it is about finding out your ex has found someone and completing the six degrees of separation. The sixth is when you’re feeling regret and what could have been and that it has hurt you to see someone else in the place that was once yours—a heartbreaking song that will undoubtedly affect you.

New Man:

A comedic side to Ed comes out in this as he indirectly digs at the “bad boys” who seem to get all the women even though they are pretentious arseholes. He also attacks the “meatball heads” you find in the gym pumping iron and blends in funny lyrics about the food they eat.

Heart Don’t Break Around Here:

A gorgeous love song that shows every element of being in love with someone. It also indicates what type of boyfriend Ed is and that he’s that “nice guy”, but I don’t feel who would finish last—some truly witty lyrics hidden within metaphors.

What Do I Know?:

A political message in this where Ed talks about how his status can make a significant difference to the world. He wants to spread unity but also says he must be qualified to discuss politics.

How Would You Feel (Pean):

“Pean” is the middle name of His current girlfriend, Cherry Seaborn. John Mayer features on the track by playing the guitar solo. What more could you want from this romantic song?

Supermarket Flowers:

This is probably one of the most emotionally charged songs on the album. This song is about the feelings you experience after someone close to you has died(in this case, Ed’s grandma and how his mum reacted to the passing the moment she passed). Although this song may be about death, the lyrics are tragically sublime. For example, the song mentions feeling inconsolable but, at the same time, reflects on all the beautiful moments you shared with that person. I can’t say I cried after hearing this, but if you don’t feel anything or stop to listen to the lyrics, then you have a heart of stone.

Barcelona:

Although the song mentions Barcelona, it is really about doing those spur-of-the-moment things during a new relationship. It is a recurring theme in this record, and you can tell that Ed is in a perfect place with his love life. The song even has a Latin feel, and you do feel like you’re in Barcelona when listening to it. Not only is this a great tribute to doing mad things in a relationship, but to Barcelona, as he mentions dancing in the moonlight of the Catalan capital.

Bibia Be Ye Ye:

Ed goes all African here (Ghana, to be exact). “Bibia Be Ye Ye” is Ghanaian for “All will be well”. This track was co-written with Fuse ODG (coincidentally half Ghanaian) and focused on changing a stormy night into a better day. This a mantra we should all live by because, as Sofia Serrano, portrayed by Penelope Cruz, says in the film Abre Los Ojos/Vanilla Sky, “Every passing minute is another chance to turn it all around”. Or to quote 2Pac on “Me Against the World”, “I Know it seems hard sometimes but remember one thing. Through every dark night, there’s a bright day after that. So no matter how hard it gets, stick your chest out, keep ya head up…and handle it”.

Nancy Mulligan:

Back to Ed’s Irish roots. This time he narrates the love story of his grandparents and how his grandfather fell for his grandmother in County Wexford. The track is very knowledgeable about the county and what his grandparents did on their way to romantic destiny—another great song with Irish country music featuring heavily with the Ed Sheeran touch that does it justice.

Save Myself:

Well, the final song on the record jolts you back to reality and pulls away at your heartstrings. Ed once again bares his soul to such remarkable effect. The song discusses all those dangerous friendships where people use you for their own ends and how it makes you feel throughout the duration and when you realise their genuine motives and cut them off and the lessons you have learnt from it from now on. Not exactly going out in a blaze of glory to finish the album, but a great song nonetheless.

Overall:

I thoroughly enjoyed this record, and it is a return to form, and I rate this above his stunning debut album “+”. I didn’t find fault with any of the songs and could play this through without skipping tracks until I am ready to meet my maker. A beautiful album, and the narration from start to finish is more like reading a book than listening to the album. Fucking brilliant, Ed! I have never given ANY record a perfect score until now.

10/10

 

Week Nine: Stormzy- Gang Signs & Prayer

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Gang Signs n Prayer

On the Brit Awards 2015, Stormzy (Michael Omari) was on stage with Skepta, JME and Jammer of Boy Better Know and a whole host of other grime MCs as Kanye West performed “All Day”, a track that was initially recorded with Paul McCartney as formally dressed guests (mainly from the music industry) looked on.

This was a significant moment for the grime industry as it was known in the mainstream for its gang-related and violent content, which was too graphic for the biggest awards show in Britain. It wouldn’t have been allowed if it wasn’t for Kanye West, who brought them on stage as he performed in 2015.

Grime has come a long way over the years, and Stormzy’s “Shut up” (which has well over 50 million views on Youtube) and “Wicked Skengman 4” broke into the mainstream singles charts. You can find many videos of MCs battling each other on Youtube (for example, Lord of the Mics). These MC battles and pirate radio sessions are where Stormzy was championed. With his sense of humour, witty lyrics, and larger-than-life personality, it’s easy to see why Stormzy has got far and even been invited onto mainstream chat shows.

The album starts and ends in the battle frame of mind, his forte. “First Things First” that kicks off the record is a jab to your face to wake you up and let you know you’re in for an eye-opening listen, and then you’re given a strong warning not to even think about clashing with Stormzy even if you feel you are ready, but lack the experience with “Cold” and “Big for Your Boots”. This record shows that Stormzy is prepared to seek new pastures, having already established himself as a battle MC. The record goes back and forth, warning lesser MCs, but “Stiff Chocolate” shows a much quieter side to his grime persona.

He then shows another side of his musical horizons with “Blinded by Your Grace, Pt.1”, which has gospel influences, and then again on “Velvet”, which shows a romantic side. The record might surprise the listener, who dismisses the grime industry as full-on violence. It is tough, sensitive and even spiritual. All emotions are shown in “Gang Signs & Prayer”, which shows the tall looming figure is not all about his

cold-eyed stare. The record might open with “First Things First”, which is quite menacing, but he even talks about his battle with depression and a failed relationship on “Cigarettes & Cush”.

He switches emotions constantly on the record and doesn’t feel ashamed to show it sometimes, even though he finds life challenging. He talks about being raised by his Ghanaian mother on “100 Bags” and how much she has inspired him and his unconditional love. 2Pac opened the doors for all rappers not to be afraid to express something as sensitive as that subject. “Lay Me Bare” is precisely what it says. This is Stormzy revealing all his heart and soul. You hear about his brief hibernation from the limelight in 2016, which left him feeling alone and highly depressed as the emotion in his voice aches, reminiscing about that point in his life. You hear his rage as he talks about the time he met his father, who wasn’t interested in being forgiven for his absence by his son, but a request for some financial support.

Of course, every Stormzy hit to date is your typical grime blueprint (ruthless and remorseless), but on this record, he wants to show all sides to his personality as Michael and not just his alter ego. Unfortunately, as he tries to show a softer side, he struggles to turn his rap vocals into singing vocals. This album may still keep in line with his tough man persona, but it has certainly been well structured with the themes and the production for a debut.

The biggest surprise in the rise of Stormzy is that he has done this without the backing of a major record label who, let’s face it, would not touch this kind of artist with a barge pole knowing what the grime scene is all about. Indeed, He has shown that he and other artists in the grime industry don’t need a major record label as like him; you can play shows, release singles via Spotify and feature on videos that get uploaded to sites like Youtube for exposure. At the 2017 Brit Awards (just two years after that performance with Kanye West), He walked into the venue via the red carpet with Bradley Walsh, smiling at the cameras and donning a suave Burberry suit. He went on stage to collaborate with Ed Sheeran on “Shape of You”, and the reception he got upon his introduction proved that Stormzy wasn’t just on stage as an afterthought.

8/10

Week Seven: Rag n Bone Man- Human

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Human

It’s impossible not to judge this man on first look. He looks like a hillbilly from America (despite being from Sussex) and even has a big build, but he is inspired by gospel, soul, Motown and hip-hop and has the voice to boot. It also proves that the charts are not just exclusive to the generic pop music that features heavily in this day and age, as Rag n Bone Man’s gospel-laden record has gone straight in at the top of the album charts, and his single also reached the summit in the singles chart. His voice is heavily influenced by his idol Muddy Waters. From ‘Human’ onwards, the album is in top gear to the closing track ‘Die Easy’.

Rag n Bone Man was born into music, and his father played slide guitar. Rag n Bone Man started singing in the local pub nights before moving to Brighton and muscled his way into the trending hip-hop scene.

This album combines both influences, which you can hear in ‘Be the Man’ and ‘Ego’ for hip-hop and ‘Innocent Man’ for the blues. The gospel-laden album and the church sound piano are especially evidence of that on ‘As You Are’. This may not be a preaching or bible-bashing album, but there are those themes that one would associate with religion.

The songs that really stand out on the record are ‘Bitter End’,’ Ego’, ‘Grace’ and ‘Human’ the latter that propelled Rag n Bone Man into the public eye after the acoustic version of the song debuted on Later…with Jools Holland in October 2016. That demo sent to Jools to hear probably kicked it all off for Rag n Bone Man, and his performance on Jools’ show fully justified Jools’ decision to give him the platform he so richly deserved. After this stunning debut record, he has set the benchmark for himself for his next album.

9/10

Week Six: Elbow- Little Fictions

~ honestopinions19 ~ Leave a comment

Little Fictions

Since their formation in 1990 under the name of “Mr Soft” (They changed their name to Elbow in 1997), it is no secret that the band has progressed and improved vastly, with critical acclaim to back this up. They didn’t get their big break until 2008’s “the Seldom Seen Kid”, which firmly set their music career in stone. “Little Fictions” is the seventh album in their arsenal, and they have decided to produce it as a band rather than work with a producer.

The Album opener, “Magnificent (She Says)”, defines the wall of sound Elbow is known for. Guy’s soft and kind vocals, a string section, polished drums and an organ. There is, however, a surprise for the listener with the addition of a synthesiser that is heard throughout the duration of the song. “Gentle Storm” has Guy’s vocals in a melancholic tone over ringing piano chords and nothing much else. The track needed more, and I couldn’t help but feel that the listener would be disappointed with this track. It feels like the band had a “that’ll do” attitude about “Gentle Storm” and didn’t feel the need to improve it any more, although I think the track is half-baked. The recurring theme I noticed with “Little Fictions” is that the drumming is repetitive. Probably the track that stands out the most is “Little Fictions”. The track is introduced by a gothic-sounding piano, which leads into jazz before ending with the typical string section that Elbow’s listeners have become accustomed to. This is the only track I felt that Elbow could venture out of their comfort zone and try out other sounds that they otherwise would not even think about for fear of losing their identity.

This album had the potential, but the focus is once again on repetitive and tidy drumming and Guy’s vocals, which don’t give a platform for the other instruments and make them redundant. The album, therefore (despite being self-produced), is a typical Elbow sound with little imagination used to show any other direction. Definitely another album for the hardcore fans as they will enjoy it regardless, but to the casual listener, it’s another album of Elbow playing it safe, which pretty much makes their venture into self-production void as they didn’t really try out anything of the ordinary

1/10