This will be a short review. I dreaded listening to and reviewing the latest No. 1 album when I saw it was Post Malone. I’ve never been a fan. However, I was intrigued to listen this time as I discovered “F-1 Trillion” was a country record. This features a plethora of who’s who from the scene, including young and old artists like Luke Combs, Billy Strings, Tim McGraw, and Dolly Parton. I really wanted to like the album for that alone. Unfortunately, Post’s incessant use of autotune ruined a record that had the potential of being great, with its lyrical content and sublime collaborations.
If you’re curious about her name, it’s a tribute to scatting, a technique deeply rooted in jazz. As a Filipino Londoner, she’s a bit of a mystery (to me at least.), and I had to do some digging to learn more about her. This is her third album, and it’s been produced by the legendary Rick Rubin at Shangri-La, Malibu.
Her real name is Beatrice Laus, and her breakthrough came with a song named ‘Coffee’, which she wrote when she was living with her parents at 17. Of course, seven years after that hit (I’ve never heard it), the singer-songwriter/guitarist has her own place. She also had a track go viral via TikTok. It was about crushing on Pavement’s frontman Stephen Malkmus, which isn’t only a strange crush but also made her go viral when most of those using TIkTok are too young to know the band, let alone its frontman.
Her second album, “Beatopia”, released in 2022, is a far cry from her debut in 2020 “, Fake it Flowers”. Her debut was more overdriven guitars, which is quite popular among pop-punk and was once utilised by bands like Green Day when they were fresh on the scene. You could add Oasis to that because the first albums used a lot of overdrive on their guitars to give it that attitude. The follow-up was more downtempo with the music we associate with artists like Norah Jones, Corinne Bailey Rae and Gracie Abrams. Since being one of the support acts on Taylor Swift’s “Eras” tour, her fame has skyrocketed to a level she never expected. Anyone on the fringes who has supported Taylor so far on the tour has seen their stock rise to incredible levels. I’ve noticed this is the third fringe support act with a number-one record.
Bea’s vocal ability increased on this album, and she discussed how she is learning to mature as an artist while being under the microscope over catchy hooks and rocking out over dry lyrics.
’Ever Seen’ was inspired by how someone complimented her eyes and how that gave her an ego boost. ‘Real Man’ discusses how an old boyfriend had failed her.
On songs like ‘A Cruel Affair’ and ’Tie My Shoes’, she blends reality and fantasy in discussing her fears of being an adult, a theme that continues from her previous album, which was named after a fantasy world she created. The blend continues on this record, making it a sequel of sorts, but the characters within the stories have evolved, and their issues become more intense, adding a layer of intrigue to the album. ’Take a Bite’ is the opener, starting with a rock-out bang. It is about gaining knowledge after a relationship has ended and finding the answers as to why the initial chemistry didn’t last.
‘One Time’ is about taking revenge, and then we have her hurting in ‘Girl Song’, so there are several sides to her and her character’s personalities. Leading on from ‘Girl Song, ’ the song focuses heavily on her self-loathing, especially on her appearance.
On ‘California’, she talks about life on the road and how it is affecting her being away for long periods from her lover. This is expressed further in ‘Coming Home’, where she longs to return to her regular life and enjoy the simple things.
Rick successfully balanced Bea’s conflicted emotions in the overall production, a feat missing from her self-produced previous albums. Rick’s knack for producing what the artist has expressed within their lyrics is evident, particularly when you look at artists like Eminem. But it’s not just Eminem-Rick has worked with countless other artists across a whole range of genres, demonstrating his versatility.
As the album was recorded in California, why wouldn’t Red Hot Chili Peppers inspire her? That is evident on ‘Beaches’, another track to rock out to. As mentioned, Bea likes a lot of overdrive on her guitars, but Rick has found a balance on this album. There is even the odd piano ballad.
We have a mixture of piano ballads like ‘Girl Song’, where we can see her vulnerabilities, then the rock-out guitars on ‘Everything I Want’, the attitude and the self-confidence on ’Take a Bite’, and then there is even bossa nova featured on ‘A Cruel Affair’. It’s quite funny that her lyrics contain her insecurities about how others perceive her. She says writing is her way of healing and letting it pour out through songs, but she fears people in her life see it as a way to cause harm and upset. I have to say, as I knew nothing of the artist, I was expecting something that was pop or R&B. I didn’t expect such a diverse and balanced record of rocking tunes, downtempo, acoustic ballads, with, as mentioned before, the odd piano ballad. This unexpected variety is what makes her work so intriguing. I will definitely seek out her material in the future.
Song recommendations: ‘Take a Bite’, ‘Beaches’, ‘Girl Song’
Week 32: Chappell Roan- The Rise and Fall of a Midwest Princess
I have to confess I didn’t know much about Chappell Roan until I listened to the debut album. All I knew is she was supporting Olivia Rodrigo on her “GUTS” tour, and that her stock has risen since that has happened. It is also worth noting the record was released last year and didn’t fare so well. It is amazing what exposure on a grand scale can do, though and it certainly has for the Missouri vocalist. Anyway, here is a track-by-track review:
Femininominon:
The opener’s first verse has quite a powerful message about being in love with someone online and how it seldom works. This is then followed by a bombastic chorus with synths and sublow bass. It showcases her ability to switch up her emotions.
Red Wine Supernova:
Ever since the unique charm of ‘Champagne Supernova’ by Oasis caught my attention, I’ve found myself drawn to songs with similarly quirky titles. This uptempo-pop track, unlike its melancholic counterparts, exudes a unique charm. Its tempo perfectly captures the exhilarating feelings of a new relationship, where everything seems to be on an upswing. The synthesiser and the artist’s witty and cheeky lyrics add a distinct flavour to the song, making it a delightful listen.
After Midnight:
This one is quite a personal track. Chappell came out as a lesbian and is worried about her parents reaction. She also feels shame for not taking life too seriously and enjoying it.
Coffee:
We have reached a moment of tenderness and quiet on the album with this piano ballad. Her melancholic lyrics about moving on after a breakup are matched by her soft vocals reflecting that heart-sinking feeling.
Casual:
Remember those power ballads that were popular in the 80s? Well, this is one. The mood has drastically shifted as Chappell ups the tempo of this emotional ditty. The topic this time is about having your profound feelings for your lover dismissed. The song clings on to optimism that their perspective will be the same as yours, and that feeling of it never will, and it’s time to go before the pain gets too much.
Super Graphic Ultra Modern Girl:
The upbeat track is about not caring what others think of you when dating and cutting loose those wasting your time not getting to know you.
HOT TO GO!:
How you are reading this is how it is sung. I dare anyone not to be smiling along to this uptempo and cheerful track. With its infectious beats and catchy lyrics, it’s utterly understandable that this is a crowd favourite and the highlight of her concerts. This is the ultimate cheesy-pop dance track that is for everyone.
My Kink is Karma:
The song is about karma, as the title suggests. Chappell finds pleasure in knowing that an unpleasant ex is finally getting karma.
Picture You:
Another downtempo ballad, where she sings softly yet powerful.
Kaleidoscope:
Another downtempo track addresses how her best friend has crossed the line regarding intimacy.
Pink Pony Club:
This sounds like a name for a strip club, and funnily enough, the song is about a small-town girl who leaves home to become a stripper at the world-famous Pink Pony Club in Santa Monica. Well, at least in Chappell’s imagination, anyway.
Naked in Manhattan:
Chappell discusses her sexuality on this one as she dabbles with experimentation and risks with a new lover.
California:
This is an ode to her love of music that also describes the pitfalls of becoming a musician, like feeling pressure not to disappoint everyone who believes in her. It is also a shot at her former label, which never gave her a chance after her first few songs were not well received. It’s ironic how that all worked out for her after their haste to dump her. Showing how California music moguls do not always have your best interests and are too impatient with talented artists.
Guilty Pleasure:
The closer combines all the subjects discussed so far. The intro appears to represent another ballad with the acoustic guitar playing before bursting into funky synths during the chorus.
Song recommendations: ‘HOT TO GO!’, ‘California’, ‘Red Wine Supernova’
He titled it “The Death of Slim Shady” perhaps because he anticipates his alter ego will face repercussions for the controversial content of his latest album.
Eminem is like marmite. You either love him or hate him. I am in the former category. I believe he has retained the same magic he had in his prime. He had a period of lull until 2010, when the fire in his belly reignited, and he stopped catering to mainstream pop.
His blend of dark lyrics and infectious choruses has always been his strength, especially on “Marshall Mathers LP 2,” which resembled its predecessor and the 2011 album he made with Bad Meets Evil.
Comparing to his previous record, “Music to be Murdered By”, one can’t help but notice Em’s shift in focus. He seems to be more determined to be the fastest rapper around, a departure from his previous style that many fans have come to love.
I may have mentioned in the earlier review that Slim Shady was making a comeback, but this album definitely solidifies that statement. This record embodies his alter ego from his early days, where he simply doesn’t give a fuck who he offends and goes after those who have pissed him off.
Who didn’t love Slim Shady? His alter ego was a breath of fresh air for rap and music in general at the time. Suddenly, we had an artist who was wicked, heartless, and offensive, yet with a hint of comedy. Everytime his words hit the microphone, he caused controversy.
Eminem knows that his early records would be considered controversial in today’s culture. With “The Death of Slim Shady”, it seems like he is attempting to address that by revisiting his past and reflecting on the most controversial aspects of Eminem and Slim Shady.
No one is off-limits on this record. Em takes shots at and mocks a variety of individuals and groups, including trans, disabled, and dwarfs, as well as politicians, fellow musicians, and the late Christopher Reeves. Eminem challenges Slim Shady, the alter ego, on why he targets these individuals and groups. He reminds Em that his controversial nature initially propelled him to success.
Eminem questions why he was so controversial, and now, as a man in his early fifties, he is also in turmoil over whether to remain that way or be a bit more sympathetic.
As the album reaches halfway , Eminem confronts Slim Shady and shoots and kills his evil alter ego. The question of whether it is all in jest remains, as he vows revenge for those he has annihilated on wax in the past. His lack of mercy for Machine Gun Kelly is evident, taking him out without hesitation. But beyond the personal drama, this album has a significant impact on the music industry. It’s a moment that will be remembered, a turning point in Eminem’s career. Therefore, I do not believe that his alter ego is six feet under.
My favorite is ‘Evil’. This is not for the faint-hearted. It showcases Slim Shady at his peak with controversial verses and impressive delivery.This is Slim Shady at his peak with his delivery and controversial verses.
In the song ‘Lucifer,’ Slim Shady is once again courting controversy by comparing himself to Satan. The song begins with Eminem realising that he needs to eliminate his alter ego because that aspect of his personality will not be suitable for his career in today’s world.
Guilty Conscience 2’ is where Em will kill Slim Shady because he has had enough of him and realises he is bad for his career. Slim Shady,a persona created by Eminem, goads him in the track, reminding him that through Slim, he had the power to say what was on his mind without thinking about the consequences. This relationship between Eminem and Slim Shady is complex, with Slim Shady representing Eminem’s darker, more controversial side. Angered by the constant goading, Em shoots and kills Slim. However, he then wakes up to realise it was just a dream. From here on out, the rest of the record was Em taking control and the end of Slim Shady. Returning to an earlier paragraph, is this the end of Slim Shady and a more caring side of Eminem? I do not think so. Expect Slim Shady to return on the next album.
I love that his personas haven’t spared snowflakes and Generation Z. We need some refreshing attitude to return to society. Of course, racism, fascism, and insulting people with disabilities are a bit far, but Eminem and Slim Shady have always been controversial. We need more controversial and outspoken artists in the current industry. If you didn’t like this record and were offended, then hahaha, too bad, Snowflake.
Song recommendations: ‘Evil’, ‘Lucifer’, ‘Guilty Conscience 2’
The band nearly had their secret show at Glastonbury this year exposed by a social media post. Frontman and guitarist Serge Pizzorno was alerted by a plumber about the post after he was asked about the show. The band has been touring with their new frontman Serge, playing songs from their debut album( Under Serge, anyway.)as well as their classic hits since 2022. Last year, they released the lead single “Algorithms” from their upcoming album, so fans have been eagerly anticipating new developments.
Unlike some, I’ve found the band’s transition after Tom Meighan’s departure to be seamless. While Serge’s new material may be more influenced by hip-hop and rap, his stage presence is truly captivating. As the previous album review highlighted, Serge is a natural frontman, exuding energy and connecting with the crowd. This, in my view, has significantly enhanced the quality of the shows. I also admired the band’s willingness to explore new musical territories with the previous record, particularly Serge’s take on hip-hop and grime.
We start with ‘Darkest Lullaby’, and it’s a start that’s bound to catch your attention. A captivating groove, rich with funk, instantly transports you back to the disco-funk era of the 1970s. But here’s the twist- this isn’t the hip-hop-infused track we might have expected under Serge’s leadership. It’s a refreshing departure that’s sure to intrigue you.
This is followed by the second single off the record, ‘Call’, which has been out since February, so the fans will be familiar with it. I cannot wait to hear how this one does in a live show because there is a chant there, which Serge will encourage the crowd to join in with. It also makes you want to get up and dance. A short, punchy track, ‘How Far Will You Go,’ follows; it is just under two minutes and is the ideal track for you to upload on TikTok and join the fun. The tempo is then brought down for the serene ‘Coming Back to Me Good.’
The album maintains a mellower pace with ‘G.O.A.T’. This track, inspired by Serge’s solo material, SLP, is a potential game-changer for Kasabian’s sound. Whether it is embraced or not, this influence is likely to be felt. The track also carries a darker vibe towards the end.
The track “Passengers” by Kasabian has a vintage feel. It includes a strong rhythm section with Ian Matthews on drums and Chris Edwards on bass. Additionally, it features great guitar work by Tim Carter and Serge’s trademark harmonies.
We then move on to “Hell of it”. All there is to say is that it’s vintage Kasabian, featuring the audience participation chorus.
The penultimate track ‘Bird in a Cage’ is simliar to ‘G.O.A.T’- Mellow yet dark.
The album closes with the leading single, as mentioned in the first paragraph. It is simply an uplifting track. It complements the whole record in a nutshell. My only complaint is that I feel Serge has been bullied into abandoning the new Kasabian we heard on “The Alchemist’s Euphoria”. This one seems to have taken a backward step and is more vintage Kasabian, reminiscent of their earlier, more rock-oriented sound. That isn’t bad, but I’d rather Serge steer the band with his vision rather than what the purists want. I also found it underwhelmingly short, with the album lasting just 28 minutes. Most of these songs could easily fit into an extended play.
Song recommendations: ‘Call’, ‘G.O.A.T’, ‘Passengers’
Gracie Abrams’ journey into music started when she was five when she picked up her father’s electronic drum pad. It would lead to touring with Taylor Swift almost 20 years later, where she would be the opening support act for Taylor on her “Eras” tour. As you already know, the other support act was Sabrina Carpenter. I could only imagine that Gracie must have been looking out at the packed stadiums, astounded by the experience, which she probably thought might never have happened once, let alone 30 times. She would write her first song three years after being drawn to her father’s electronic drum pad. That eventually led to the Grammy nomination for Best New Artist. This year, she also made her television debut by performing on the Tonight Show presented by Jimmy Fallon—a far cry from her debut live performance back in 5th grade at school.
Back in 2020, she hosted a modest concert over Zoom when the world was locked down due to the pandemic. The venue was her childhood bedroom, and the performance was viewed by only 100 people using the application. She described the experience as “weird” and expressed that she hadn’t expected to achieve what she did at that point. Gracie was inspired to play the guitar after listening to the late Elliott Smith. He was a young man with a troubled soul who died (Although no one knows if he was murdered.)before his time, yet he inspired many through his brief career as a songwriter.
During her teenage years, she explored other artists’ music, like Radiohead and The Beatles, and even covered their songs. However, when she came across Phoebe Bridgers on Soundcloud, everything changed for her. Her deep admiration for Phoebe greatly influenced her debut album.
Her latest album, “The Secret of Us,” establishes her as a country-pop icon who emotionally connects with younger listeners. The lead single “Risk” incorporates elements reminiscent of Joni Mitchell, the rebel and poet Patti Smith, and the emotive style of the late Elliott Smith. However, the catchy, pop-friendly chorus offsets the melancholic themes found in the works of these artists.
In her second album, the artist shifted to a brighter and more distinctive sound than her debut, “Good Riddance.” The opening track, ‘Felt Good About You,’ draws inspiration from the jangly guitars reminiscent of Vampire Weekend and Taylor Swift-like choruses throughout the album. In ‘Blowing Smoke,’ she incorporates country tones from Sheryl Crow and Alanis Morissette’s rock attitude. Additionally, there’s a reference to Kate Bush’s iconic song ‘Running Up That Hill (A Deal with God),’ where she mentions the title within the lyrics.
In her debut album, I previously mentioned that Phoebe Bridgers was a heavy influence. This is evident on tracks like ‘I Love You, I’m Sorry’ and ‘Good Luck Charlie’, where her influence is obvious. Jack Antonoff, who interestingly also works with Taylor Swift, contributed his signature production style to the album. Aaron Dessner of The National, who also collaborates with Taylor Swift, co-produced the album, making it more pop-friendly compared to his usual work. This contrasts sharply with his work with his own band. You can hear influences from R.E.M in ‘Tough Love’ and ‘Normal Thing’. The latter sounds similar to Jamie XX. ‘Normal Thing’ stands out to me as favourite, partly because it sounds completely different from the rest of the album and is more uplifting with its dance beats.
Let’s face it: Phoebe Bridgers is a complicated person to emulate. Only a few artists break through after a debut album. Usually, it’s the second album onwards, where you iron out the mistakes made on the debut. Gracie has achieved this on her second album, and it is a far cry from sitting in her room learning to cover iconic songs from the artists and bands she listened to as a teenager. You can see she borrows elements from all of them to create her own identity. Her parents’ musical tastes can also be heard on the record, but her music is a blend of Taylor Swift and Phoebe Bridgers. Taylor Swift also appears on ‘us’, which reflects this. The experience of being on tour with Taylor has inspired her songwriting for this album, and she has more confidence in her delivery. The vocals are a lot stronger. This may not be her most iconic record, but it lays the foundations for the future.
Song recommendations: ’Normal Thing’, ‘I Love You, I’m Sorry’, ‘Risk’
Billie Eilish has released another album, produced by her brother Finneas. I respect him more because he is the complete package. The latest record is titled “HIT ME HARD AND SOFT” and has received positive feedback.
The album undeniably carries Billie Eilish’s signature style but also introduces something new and distinctive compared to her previous work. It is much more chilled out, yet she displays anger simultaneously. The album has an aquatic feel. What do I mean? It’s hard to explain exactly, but it has an element of being under the sea. Billie and her sibling FINNEAS somehow churn out earworm songs that inevitably turn into hits. The chemistry between them in creativity is something to behold. Somehow, they never lose that momentum.
Whether the albums are unimaginative is beside the point. She and Finneas always bring something fresh to their music while staying current with pop trends. At least one song will always resonate with the listener somehow.
As an experienced vocalist, she has changed her style. You can hear her elongate crescendos or hold her words longer at the end of phrases. This shows that she has adapted and gives her more room to keep the listener’s attention with originality. However, there is a balance; she stays moderate with this newfound skill. There’s nothing wrong with that, but it would make the listening experience rather weird.
Recently, Taylor Swift released ‘The Tortured Poets Department,’ a record that has prompted comparisons with Billie Eilish’s latest work among her fans. Many argue that the production in Taylor’s album is ‘lacklustre’ compared to Billie’s. However, it’s crucial to highlight the unique collaborative process between Billie and her brother, FINNEAS. FINNEAS is credited with adding distinctive sounds that give the songs more depth and character. His talent for selecting standout sounds allows Billie to focus on her vocal delivery and lyrical content, with her brother leading the production. Additionally, FINNEAS occasionally contributes to the lyrics and provides backing vocals, showcasing the true essence of their creative partnership.
Of course, let’s not idealise the album too much. I might be praising Billie and Finneas, but sometimes the production needs to be less laid-back, which can make your mind wander. The lyrical content remains strong, and despite the underlying anger, the vocals match the tempo of the songs, creating a false impression of mellowness when the lyrics suggest otherwise. The young lady who currently dominates the UK singles chart with ‘Espresso’ will be releasing her 6th studio album soon, posing a challenge to artists like Billie and Taylor Swift. Sabrina Carpenter may have only recently gained attention, but she is ready to compete with Billie, Taylor, Miley Cyrus and Ariana Grande. I witnessed her growing popularity firsthand. Supporting Taylor during her “Eras” tour last year has also bolstered her fanbase.
Song recommendations; L’Amour de Ma Vie, Chihiro, Bittersuite
It’s quite an unusual title to begin the album with. Relationships, a whirlwind of emotions, are beautifully depicted in the first track of this album. ‘End Of An Era’ is a song that sparks hope and excitement for starting a new relationship and what lies ahead. With their profound meaning, the lyrics transport me to the feelings of a new kiss and the magnetic pull of two souls. I felt these emotions and more while listening to this song, which is why I found it captivating—not forgetting the warm Mediterranean Spanish guitar accompanying her.
Houdini:
This showcases Dua’s vocal skills. “Houdini” is about yearning to be your lover’s key priority before you ghost them. It is quite apt that it is named ‘Houdini’ because the late Harry Houdini used to perform magic acts where he would vanish/escape. The lyrics convey positive and negative emotions about wanting to experience a love utopia. It has powerful vocals and a catchy melody, putting it up with her best work. It still is not my favourite, though, on the record.
Training Season:
The subject matter is the same as the previous track. The song discusses how we move from improving our self-esteem to preparing for a serious relationship.
These Walls:
This is one of the standout tracks on the album. It deeply delves into the complex emotions that surface when a relationship becomes difficult. The term ‘walls’ is a poignant metaphor, reflecting the desperate attempts to salvage a relationship that’s falling apart. In essence, it’s a heart-wrenching depiction of a relationship’s decline, a song that’s sure to stir up emotions in anyone who’s been through a similar experience.
Whatcha Doing:
The song focuses on whether you want to be in control of your life or share your feelings with others. I found this to be autobiographical, as you feel that she doesn’t want to lose control in relationships because she shows too much emotion, which leaves her exposed and, therefore, she loses her power. This is something that we experience, whether it is in a relationship or everyday life.
French Exit:
It is fitting that as we reach the halfway point, the tempo drops, and the title is quite apt, as ‘French Exit’ means when someone slips out of a social event without letting anyone know they are planning on leaving. I have been guilty of these because I find them bloody awkward, and a sense of guilt kicks in if I do not stay until the end. In this case, it represents deciding whether to end a relationship face-to-face or walk away and leave things unsaid. Dua seems quite familiar with a ‘French Exit’ and depicts it perfectly.
Illusion:
You can understand why this is one of the singles from the album; it’s one of those tracks that sticks in your head. This time, the focus is on recognising when you’re being manipulated, but unfortunately, ignoring the warning signs and trying to maintain control because we want to build trust and a connection, even though we’re only seeing an illusion. A fitting title.
Falling Forever:
This track is the record’s highlight, demonstrating her exceptional vocal range and musical talent. The lyrics “Can we just keep getting better / Can we keep falling forever?” express the yearning to deepen love and sustain that feeling eternally. It’s a genuinely sublime portrayal of love.
Anything for Love:
The intro sets the scene with Dua in a lively social setting, followed by a captivating piano solo featuring Dua’s powerful vocals. Despite the initial melancholic tone, the song quickly transitions into an upbeat rhythm with a strong beat. Dua passionately conveys her refusal to settle for a love that gives up easily when faced with difficulties. This short, lively track is truly one of my favourites.
Maria:
‘Maria’ depicts an individual who profoundly impacts us and contributes to better future relationships. This is based on Dua Lipa’s personal experience, and “Maria” has evidently helped her improve her future connections. The positive influence of this individual continues to be felt in the future. I am actively seeking out songs written from this perspective, and I applaud Dua for her portrayal in ‘Maria’.
Happy for You:
The album ends with a melancholic ballad acknowledging a relationship is over, and your ex has moved on. Unfortunately, you now realise what you had that is now gone. I can guarantee most of you have taken love for granted and then had that sinking feeling once it has gone, realising that you love them more than you expressed. It feels like a punch to the gut once the realisation kicks in, which Dua conveys through the lyrics and the delivery. It is an emotional end, but another favourite for how Dua defines the feeling.
Song recommendations: ‘Falling Forever’, ‘Maria’, ‘French Exit’
Are you a fan of Taylor Swift? If so, you’ll be thrilled to hear about the release of “The Tortured Poets Department”. This album is eagerly anticipated by fans who loved her recent releases, “Midnights,” “Speak Now,” and “1989,” which included bonus tracks from re-recordings of the previous two. With Jack Antonoff returning as the producer and Aaron Dessner, the National’s guitarist, this album will surely be a hit. Featuring a mix of synthesisers, country/folk-inspired tracks, and piano ballads, it’s a return to Taylor’s roots and her intimate gigs in Nashville. The album has no significant hits, but the songs are perfect for those calming moments during her live shows. The lyrics are thought-provoking and melancholic, with the occasional use of foul language. Taylor also takes a shot at Matty Healy, the frontman of the 1975, with whom she briefly had a relationship, which adds an element of controversy to the album. My favourite is ‘Robin,’ but many tracks on the album have deep lyrical content.
Song recommendations: ‘Robin’, ‘Peter’, ‘The Manuscript’
James is a band that has been around since 1982 and has a large following. Their latest album has finally given them their first No.1, which is impressive considering they have had nine albums in the top ten. The album is a mix of their signature sound and experimental and eclectic tracks. The collaborations on this album are impressive, and the mixing by Cenzo Townsend is top-notch.
The album opens with ‘Is This Love’, which perfectly blends their quintessential sound with synths and Andy Diagram’s trumpet. ‘Life’s a Fucking Miracle’ is a deep house track that explores the ups and downs of life and then bursts into a grand instrumentation. ‘Better with You’ mixes disco with synths and continues the story of ‘Life’s a Fucking Miracle’ where the main character finds “the one”. ‘Stay’ is a powerful track that addresses mental health issues and encourages listeners to keep fighting against the condition.
Chloe Alper, who joined the band in 2018, shines as a backing vocalist on the album, especially on ‘Shadow of a Giant’ and ‘Way Over Your Head’. ‘Way Over Your Head’ features Jon Hopkins on piano and Saul Davies on the violin and is a beautiful ballad about alcoholism. The album’s tracks ‘Mobile God’ and ‘Our World’ showcase the band’s unity and optimism. ‘Mobile God’ explores the issue of smartphones from the phone’s perspective, and ‘Our World’ looks to a better future.
‘Rogue’ is a catchy song about rebelling against ageism, and ‘Hey’ is an experimental track that features gospel music and addresses conspiracy theories vs the media. The album closes with ‘Folks’, a powerful ballad about death. The album proves that James has improved since their reunion in 2007 and dared to go against the grain of what the music industry expects from them. The album is a must-listen for fans of James and anyone who loves great music.
Song recommendations: ‘Life’s a Fucking Miracle’, ‘Mobile God’, ‘Hey’
Honest Opinions 