Ballad

Week 15- The Libertines- All Quiet on the Eastern Esplanade

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In August 1997, a young teenager named Pete Doherty was interviewed on television outside His Master’s Voice, Oxford Street. He shared his thoughts on Oasis’s eagerly awaited third album, “Be Here Now,” and his opinion of the band. Pete later co-founded The Libertines (Originally The Strand) with his flatmate Carl Barât, although their names and band name were unknown. The band had a history of members leaving and returning before eventually signing with the infamous Rough Trade in 2001. Razorlight’s Johnny Borrell briefly served as a bassist for the band. The drummer, Paul Dufour, was sacked by their female manager, Banny Pootschi, for being ‘too old.’ An American-born Brit named Gary Powell was recruited to play on their debut album, “Up the Bracket,” released a year later.

The band was known for performing guerilla gigs, inviting fans to their flat to watch them perform, often causing trouble with the police. During this period, they experimented with various drugs, including cocaine, crack, heroin, and cannabis. Pete and Carl’s friendship was also unstable, swinging from best mates to enemies, reflected in their 2004 self-titled album, especially in their monumental anthem, ‘Can’t Stand Me Now,’ and ‘Don’t Look Back into the Sun.’ Unfortunately, the band split the same year due to infighting between Pete and Carl.

Pete later formed Babyshambles a year before The Libertines split, while Carl formed Dirty Pretty Things a year later. In March 2010, the band announced that they would reform and headline the Reading + Leeds festival in August, surprising fans as Pete and Carl had not spoken since the band split. The short reunion was a success, with thousands of fans flocking to the stage and several others watching on the BBC. The gigs are the main search results on YouTube for their live performances.

Carl stated in an interview two years later that he could see the band reforming again. Another two years passed when a cryptic picture of Hyde Park appeared on their Facebook page on April 20. The Barclaycard British Summer Time Festival then made an offer to Pete and Carl to perform on July 5 and close out Saturday. They accepted the offer, and a further surprise was in store when they announced they would perform three nights at Alexandra Palace in late September. I had the fortune of attending the final night with my friend Keano. Circa Waves supported them, and it was fantastic. We were absolutely fucked, but then so were Pete and Carl. I do not remember much of the gig, but we enjoyed ourselves. I have to watch videos of that night to remember just how good the performance was, and it is the band at their best. They were back, and you could feel the chemistry.

After those four successful gigs, Pete attended Hope Rehab Centre in Thailand. Once he completed his rehab, the band joined him in January 2015 to start writing the next album. The album was released later in the year and called “Anthems for Doomed Youth.” It topped the charts at No.3. The band has been together since, with Pete having a solo project from 2016 and Carl returning during hibernations to Dirty Pretty Things.

Now, regarding their newest album, it is unbelievable that it has been nine years since the band’s last release. They have been on the road regularly since their second reformation a decade ago. Their name, song titles, and albums all reference books. The new album, “All Quiet on the Eastern Esplanade,” is no different and has no interludes.

The album opener is ‘Run Run Run,’ which discusses escaping the past over quintessential indie from the early 2000s, most notably The Strokes. ‘Mustang’ has the bass and drum sound that the band was known for in the early 2000s.

Pete takes over from Carl on ‘Have a Friend,’ which has the same structure as a typical Libertines track but lacks the punch instrumentally. ‘Man with the Melody’ is one of the slower tracks on the album, and Pete and Carl talk about facing their demons on this piano ballad complete with strings.

‘Night of the Hunter’ adds the band’s love of books to the mix, something the band is known for with tracks like ‘What Katie Did.’ They have a knack for turning books they have read into their original songs with nods to the book. The record teaser ‘Shiver’ departs from their indie/rock roots. It is more theatric and sounds quite evil before it fades out.

‘Be Young’ is my favourite from the album, and there are no prizes for guessing why. This is the band with their wall of sound, the sounds we have known since “Up the Bracket.”

The closer is ‘Songs They Never Play on the Radio’. This song sounds similar to ‘Music When the Lights Out’. When the pair trade off vocals, the delivery mimics that song, and so does the instrumentation. It is a good way to end the album, as the tempo is brought down.

In my opinion, “All Quiet on the Eastern Esplanade” represents the band clean and sober. There is a more mature sound and less chaos than what you had on “Up the Bracket” and the self-titled record. “Anthems for Doomed Youth” was a bit calmer, but this one certainly has the lads discussing hard-hitting issues with less kick in the music. Hopefully, we will not have to wait another nine years for the next album.

I look forward to hearing how these new songs with a more mature approach go down on the tour, which is almost sold out.

Song recommendations: ‘Be Young’, ‘Song They Never Play on the Radio’, ‘Run Run Run’

8/10

Week 11: Ariana Grande- Eternal Sunshine

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Let’s dive straight into the track-by-track review:

intro (end of the world):

This short intro consists of guitar plucking an orchestra and vocal layering as Ariana asks questions about being in the right relationship.

bye:

From the intro, Ariana has made a decision: The relationship isn’t the right one for her. She conveys this over a power ballad inspired by the 1970s fused with disco-pop. I also loved her cheeky lyricism, where she says, “This hook feels too hard to sing.”

don’t wanna break up again:

Even though she expressed about leaving the relationship in the previous track, in this one, she doesn’t want that to happen because she doesn’t enjoy it when a relationship ends. She mentions crying herself to sleep while her boyfriend watches the television and turns up the volume to drown out her sobbing. She also toys with his emotions, which breaks his heart. Look out for the infectious chorus on this one.

Saturn Returns Interlude:

Someone can be heard uttering something. I don’t know what exactly. I have no interest in interludes.

eternal sunshine:

We arrive at the title track, where Ariana longs to clear her memories of the toxic relationship that consisted of arguing, lying, and cheating. This track occurs after the relationship has ended and both have moved on. In the song, she expresses that her current boyfriend is all she ever wanted. This is a quintessential Ariana song, but it has been included to keep on topic with the rest of the album.

supernatural:

Over this beaming ballad, she discusses that even though love can be a rollercoaster, we cannot live without love. Mariah Carey’s songs inspire the chorus during her prime in the 90s. Ariana’s vocal harmonies are the icing on the cake.

true story:

She now goes full-on 1990s RnB, and it is no surprise that it works because Max Martin was responsible for producing quite a lot of this genre back then. It reminded me of what the late Aaliyah, TLC, et al. did in the 1990s. I also heard En Vogue on this one, too. As for the story, Ariana becomes the evil girl/villain, which is a humourous dig at the media. Rumour has it that this song started as a parody track and was used for a shelved comedy project, so it comes across as cheeky and playful.

the boy is mine:

Ironically, it has the same title as the hit by Brandy and Monica, but even more ironically, the song is old-school R&B. This track, however, is about stealing a boyfriend from another woman. Ariana has fun with her sarcastic delivery and tongue-in-cheek lyrics.

yes, and? :

This is my favourite track off the record. It reminded me of all that 1990s R&B fused with house that I grew up with. Lyrically and sometimes sonically, it nods to Madonna’s ‘Vogue’. It is extremely upbeat and rather out of synchronisation with the rest of the album.

we can’t be friends (wait for your love):

As you may be aware, Ariana is going through a divorce at the moment, which explains the narrative of the record. This track is about her cutting him off and trying to avoid the media’s attention while she deals with it. Look out for the catchy hooks and yet more brilliant songwriting by Ariana.

i wish i hated you:

There’s nothing fancy by her vocally on this emotional ballad. Instead, you will hear her voice in its purest form over a cosmic-like production. This song got the better of her as, at certain moments, you can hear her voice crack as she expressed that she finds it hard to leave him because she doesn’t hate him. 

imperfect for you:

This one was a shock. Considering her age, I was surprised the 60s would inspire her, but this has a Beatles psychedelic phase vibe. Don’t be fooled by the psychedelia within because this is another heart-wrenching ballad addressing her issues with depression and how it makes her relationships challenging.

ordinary things (ft Nonna):

As far as I knew, this was the only collaboration I heard on the album. This is another ballad that goes full circle with Ariana asking the question she did initially, concluding that the simple things only matter when you are with the right person because luxurious and materialistic items will never conquer love. Who is Nonna? Well, it’s her grandma, and on the coda, which is spoken, her grandma is giving advice about what to do in a relationship, and if she feels she can’t or is uncomfortable, then it is time to move on. 

Song recommendations: ‘yes,and?’, ‘supernatural’, ‘i wish i hated you’

8/10

Week 8: IDLES- Tangk

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I don’t know how the title is pronounced (Tansk?), but you will be surprised. As I have mentioned in previous reviews, I dubbed the band “Energetic Rebellion”; however, this time, the band have kept some of that but has resorted to talking about parenthood, love, relationships, and political matters. Yes, there were smatterings of romance on the previous records, but this one steps it up to a level I wasn’t expecting. The volume has also dropped to a chilled vibe, matched by Joe Talbot’s relaxed vocals.

‘Roy’, for example, is more akin to soul. The opener, ‘IDEA 01, ‘ sounds ethereal and reminds me of Lana Del Rey’s style of music. ‘Dancer’ is one of the singles that features LCD Soundsystem, and you can hear that on the track. It isn’t of the iDLES ilk.

Of course, let’s not forget the band returns to their routes on tracks such as ‘Hall & Oates’, which is my standout from the record. I felt chilled out until that track came on, and I was shocked back into the room. Joe also aims for the royal family on ‘Gift Horse’, declaring his daughter is more important than someone in a bejewelled crown.

I know this album will have many mixed reviews because we expect the band to be full-on energetic rebellion, but this one takes it easy, and some people will hate that they have. For all that, the band have shown they can escape their comfort zone and show versatility. As I said, it is a record that is full of surprises. I certainly didn’t expect it. I would describe it as the band rolling a joint and taking it easy as they enjoy the weed. You could also say the band is on a comedown after experiencing an energetic high. One good thing from this is that the band will no longer be pigeonholed into just one category.

Song recommendations: ‘Hall & Oates’, ‘Gift Horse’, ‘Dancer’

7/10

Week 5: James Arthur- Bitter Sweet Love

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I have never been a fan of this 2012 X Factor winner, nor do I believe he should be No.1 after a bullshit technicality. The Reytons outsold him, but James got it due to a complaint from some jobsworth in the industry. I believe this decision has marred this week’s chart. I wouldn’t be at all surprised if corruption was involved. Unlike a fair few of the former winners and contestants of the ITV talent show, James has grafted away while they have disappeared into obscurity. He also has a mad hairstyle—a cross between Mike Flowers and Tim Burgess without the bleach blonde. 

“Bitter Sweet Love” is the fifth album released by James. Although he has distinctly husky and soulful vocals, how long has he got before this no longer carries him? Yes, it is different from the likes of Ed Sheeran and Harry Styles, and I am going to throw an obscure one from 2011, Josh Kumra, but they are versatile. When reading about this record or purely people’s opinions, I heard it was full-on rock. Really? Where? I heard some rock but also plenty of piano ballads and acoustic moments. The album is quite reflective. ‘Free Falling’, ‘Just Us’, and ‘Is It Alright?’ have some hard-hitting lyrics, but that’s about it. I tend to like piano ballads and acoustic songs, but they made this record disjointed, and you drift away because they are too frequent on what is allegedly a “rock album”.

The opener is the title track, which unfortunately turns out to be a false dawn. As I said, the record needs to maintain your interest. The title track, however, captures your attention with its bombastic sound. There are a few more moments like that on the album. ‘Blindside’ draws inspiration from the 1980s, and the highlight must be ‘Comeback Kid’. Now that is full-on rock. His attempts at being political on ‘New Generation’ fall flat. It had a nice rock feel, though.

Listen at your discretion, but I’m afraid there are too many moments when your concentration drifts away. The Reytons have been robbed, and this record didn’t deserve to “win”.

Song recommendations: ‘Comeback Kid’, ‘Bitter Sweet Love’, ‘Just Us’

6/10

Week 50: the Killers- Rebel Diamonds

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A mixture of brief and long track-by-track reviews:

Jenny Was a Friend of Mine:

Powerful bassline depicting the fictional story of a girl called Jenny who was murdered. Morrissey(who Brandon is a fan of)inspired him to write the song, which is part of the murder trilogy featured from the “Hot Fuss” period. Frontman Brandon Flowers also said that Alice Deejay’s 1999 smash ‘Better Off Alone’ inspired the sound.

Mr Brightside:

THE iconic anthem that has stood the test of time for the band. It doesn’t matter where you are; everyone will know the words( to the chorus, at least.) and sing them at the top of their lungs with their arms aloft or their fist punching the air. Brandon said this track came to life after he suspected his then-girlfriend was cheating on him. Brandon woke up and went down to the Crown and Anchor public house in Las Vegas and saw his girlfriend cheating. The backing track had already been done before Brandon added his heart-wrenching vocals, followed by the drum machine featured on the demo. The anthem was initially met with disdain during its initial live performances and gathered momentum after the release of ‘Somebody Told Me’.

All These Things That I’ve Done:

Brandon admitted to imitating the late Lou Reed’s vocal delivery for this track. The song features the Gospel group Sweet Inspirations. The bassline was lifted from the late David Bowie’s ‘Slow Burn’. 

Somebody Told Me:

Their second single, which had an Oasis-esque vibe, is about trying to pull someone in a nightclub. Brandon cleverly added both sexes in the chorus so both could relate to the meaning behind the song. Pulsating drums and spacey synthesisers over raucous guitars will have you headbanging, dancing uncontrollably or stamping your foot.

When You Were Young:

The synthesisers are warmer than what was heard on “Hot Fuss” over lyrics referencing hurricanes, heartache, and Jesus, specifically in the chorus). The synthesiser takes centre stage with its riff featured on the chorus. There is an element of folk in this 80s synth-pop song.

Read My Mind:

Brandon has said this is the best song he has ever written and declared it his favourite for the band. Again, it is an 80s-inspired synth song with amazing vocals in the verses and a riff that still sticks into your head almost two decades later. Brandon said this originally started as ‘Little Angela.’

Human:

I never understood the lyrics ‘Are We Human? Or are we Dancer?’ However, it is an infectious hook, and maybe due to its melody, it makes the outlandish lyrics redundant. Furthermore, many people have questioned what the lyrics mean because, as you can see, they do not make sense. The track featured a synthesiser, snappy guitar riff, and hi-hat riff, with a second synthesiser coming in the second verse: catchy synthesiser, and full drums in the first chorus. The second chorus features high synth strings, which lead into the middle eight and are accompanied by drums, bass, and vocals. The third chorus is a breakdown featuring the sounds heard so far, with a fade out on the final chorus.

Spaceman:

It is a song about meeting an alien, which gradually affects the main character’s sanity over multiple synthesisers with driven guitars coming in on the chorus. The standout has to be the drumming by Ronnie Vanucci. On a side note: When Noel Gallagher met the band, he ignored the other members and approached Ronnie. At the time, the then Oasis leader was looking for Zak Starkey’s successor.

A Dustland Fairytale:

It’s a song that sounds like it could be in a school assembly. There is an updated version featuring Bruce Springsteen, which was recorded in 2020. The acquisition of the Boss makes the re-recording better than the original version.

Be Still:

An unimpressive ballad.

Runaways:

This track is Bruce Springsteen-esque.

the Man:

I am not a fan of it, to be honest. It has that 1980s feel to it (I tend to cringe at most of the music from the 80s when I hear them played.). Don’t get me wrong, I like some 80s disco, but this had far too much to my liking, and I certainly wouldn’t put it in the Nile Rodgers category (I would have liked it, then.).

Caution:

Sounds like four bands rolled into one song. The intro is very Tame Impala, the verses are the War on Drugs and Slowdive, and the chorus is the Killers. Once again, the lyrical content and the story draw you in. There’s even an appearance by Lindsey Buckingham on the lead guitar. The story is about rolling the dice and throwing caution to the wind regardless of the consequences because you don’t want to regret missed opportunities.

My Own Soul’s Warning:

It is a slow-building track that bursts into a traditional Killers wall of sound. You can never forget the sound for that reason alone. The fable is quite religious, and what happens when you start questioning its validity? 

Dying Breed:

Brandon goes for it on this song, especially in the chorus, as his vocals grow in volume. It’s a typical Killers track with all the synthesisers, et cetera. One to get the seating section up on their feet for a dance at the gigs.

Pressure Machine:

This is my third choice recommendation from the album with the same name. However, apart from the story being told, it lacked a hook and a chorus. It felt more like Spoken Word than the bombastic sound we know the band for.

Quiet Town:

A fable about two individuals killed in a 1994 car accident in Utah 1994 when a train hit them at a crossing. This song has some meaning to Brandon because he hails from the same town in Utah where the incident happened. He also saw one of the victims that day morning on the way to school. The song is broken down into verse one: the accident. Chorus one: How it shook the town, and what these Mormons are like. Verse two: 20 years after the accident, discussing the opioid stories. Chorus two: How the people live their lives and how their faith will pull them through. Verse three: Brandon outlines how he feels when he returns to his hometown. Chorus three: The local folk are good people and help those in need—verse four Talks about the train remembering taking those lives. Overall, the song is taken from the point of view of a train worker who witnessed the incident. The worker also says how the train kills someone every two or three years, maybe depicting that individuals intentionally commit suicide by being struck by the train. Why? Well, one of the lyrics is, “You…I, I think the train is a way to find your way out of this life if you get hit by it”.

Boy:

Chopping hi-hats, dazzling guitar riffs, and Brandon’s personal lyrics over their usual synth rock. The topic is Brandon addressing himself and his children about the past and the optimism of the future.

Your Side of Town:

Quintessentially the Killers.

Spirit:

The sole new track on the album, and closer samples Underworld’s iconic ‘Born Slippy’ over the band’s quintessential sound. 

Song recommendations: ‘Mr Brightside’, ‘Somebody Told Me’, ‘Spirit’

8/10

Week 49: Peter Gabriel- i/o

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Here is a summary review of all the tracks:

Panopticom:

Pop-funk verse, acoustic guitar in chorus, tempo changes throughout with Brian Eno on synthesisers.

the Court:

Similar to ‘Panopticom with piano at outro and Brian Eno on synthesisers.

Playing for Time:

Emotional piano ballad accompanied by strings.

i/o:

Lyrically focused, it grows from a relaxing melody into a singalong anthem.

Four Kinds of Horses:

Briano Eno on synthesisers and electric worms, half-spoken verse, rousing bridge, and a subliminal message chorus.

Road to Joy:

Brian Eno on production, uplifting track with a catchy hook.

So Much:

An emotional track over the piano with Soweto Gospel Choir.

Olive Tree:

Classic Peter Gabriel with an air-punching chorus.

Love Can Heal:

Something of a lullaby.

This is Home:

Outstanding vocals over a fantastic production.

And Still:

An emotional track addressing the death of his mother.

Live and Let Live:

Brian Eno on synthesisers and rhythm programming, Soweto Gospel Choir also features. Peter said the late Nelson Mandela and the late Desmond Tutu inspired the track. It’s a track about love and forgiveness.

Conclusion:

This is a quintessential Peter Gabriel album, which isn’t a bad thing, but the tracks are incredibly long, and I would describe the production like a river—everything flows, but the songs all sound similar, with some exceptions. I don’t know how this got to No.1 when the kids these days stream music, and I wouldn’t have Peter Gabriel at the top of their list. I can only think that “i/o” has been bought for parents/grandparents, uncles and aunties as a Christmas present. Still, fair play to him for managing to score a No.1 album in this day and age.

Song recommendations: ‘Panopticom’, ‘Four Kinds of Horses’, ‘Live and Let Live’

7/0

Week 43: Taylor Swift- 1989 (Taylor’s Version)

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Is this the final one of Taylor’s versions? I cannot remember. I recall saying in the first instalment of Taylor’s Version how many she planned to re-record to fuck over that twat who held the original master tapes to ransom. 

“1989” was the breakthrough album for Taylor and a firm Swiftie’s favourite. Remarkably, this has inevitably been re-recorded because, as I have mentioned in the previous Taylor’s Version reviews, her vocals are mature, rather than the angry teenager from the originals, and her experience through the years has made the re-recorded songs richer in sound.

As you will recall from the originals, ‘Blank Space’ had a spring effect, which has now been rectified, and ‘Out of the Woods’ has now been beefed up with more reverb. ‘Style’ now has an altered guitar tone as well.

Of course, as mentioned several times by myself over all of these specific reviews, I have been impressed with her more measured vocals, and they particularly stand out on ‘Clean’ and ‘I Know Places’, where she uses her power. The latter, if I remember correctly, didn’t have much else going for

it. I recall repeated lyrics. Jack Antonoff, who I felt fell on “Midnights”, gets it right this time, especially on ‘I Wish You Would’, and ‘How You Get the Girl’.

As I have also mentioned, I have been a big fan of the “From the Vaults” tracks used for bonus material. I especially liked ‘Is It Over’ and ‘Now That We Don’t Talk’. Although the “From the Vaults” tracks do not seem to synchronise with any of the re-recordings, it doesn’t matter much because they indicate how far Taylor has come as an artist and songwriter.

Song recommendations: ‘Is it Over’, ‘How You Get the Girl’, ‘Clean’

8/10

Week 42: the Rolling Stones- Hackney Diamonds

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Here is a track-by-track review of the band’s new material for a very long time:

Angry:

The teaser for the record is undoubtedly up-tempo and effortless. It reminded me of some of their songs from the 80s. More so with the riffs rather than Mick’s vocals, which never seem to change.

Get Close:

What I liked about this track is the band went rogue with this one and added a saxophone solo and harmonies that are hardly “a la mode”. However, I like all that avant-garde stuff, so fair play to them for not trying to follow the trend—the first of two tracks to feaure Elton John.

Depending on You:

It is a radio-friendly country ballad complete with soaring strings.

Bite My Head Off:

Paul McCartney (Who recommended they return to the studio for the first time in over a decade.) features on this punk-fuelled track. You wouldn’t know his presence on the track until Mick bellows, “Come on, Paul!”. 

Whole Wide World:

Another high-energy track that discusses Mick and Keith addressing youngsters about the things to look out for before they grow old and wise.

Dreamy Skies:

This is the halfway point and the end of the A-side of the vinyl (if you happen to purchase it.). As you can imagine, as it is the final track on the A-side of the vinyl, the tempo eases to a plodding country ballad, yet instead of lulling you to sleep, it still maintains the energy enough to grab your concentration.

Mess it up:

The vinyl’s flip side, or the second half of the record, begins with an outro/intro to give you the sense of being involved in the recording process in the studio with the band. Disco is not their most robust genre for experimenting, but it works with the stomping piano thrown in at the breakdown—this is one of the final tracks to feature their late drummer, Charle Watts.

Live by the Sword:

This is the final track to feature his drumming, leading off from the Charlie Watts thing. It is fitting, then, that this is also another uplifting track with a vibrant piano riff. However, this one is less disco and more what can only be described as a nod to the late Elvis Presley with Elton John(second and final track.) providing the aforementioned vibrant piano riff. Although not lyrically strong, it is surpassed by Mick’s vocal skills and Elton’s dazzling piano playing. Don Was from Was(Not Was) is on production. Ex-bassist Bill Wyman also makes a cameo.

Driving Me too Hard:

It’s a quintessential Stones track with recycled riffs. One for the purists rather than the casuals who might find this “safe” and just a filler.

Tell Me Straight:

It was the first track to have guitarist Keith Richards take over vocal duties. His vocals suit this melancholic ballad. Surprisingly, you want this one to last longer because there appears to be beauty in listening to this. I like melancholic songs, which the Smiths and Noel Gallagher have mastered, so I’ll let you cast your aspersions here.

Sweet Sounds of Heaven:

A sublime track. With Lady Gaga singing and the great Stevie Wonder working his magic on the keys, it doesn’t feel like the Rolling Bones(Deliberate.)are on this in any way, shape or form. It’s quite surreal seeing the band cede control of their track. It is the longest, weighing in at over seven minutes. Although Lady Gaga soars with her vocal performance, what happens when Mick returns to duet is beyond words. This gospel-inspired song is just exquisite. My favourite by far.

Rolling Stone Blues:

We end the album with the cover ‘Rolling Stone Blues’ by the legendary and late Muddy Waters. This is the first time the band have recorded the cover, despite it inspiring their name. It is a comedown after celestial ‘Sweet Sounds of Heaven’, but it doesn’t feel inferior in the slightest. 

Song recommendations: ‘Sweet Sounds of Heaven’, ‘Angry’, ‘Mess it up’

Week 36: Olivia Rodrigo- GUTS

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I fucking loved Olivia’s debut, “Sour”(Or is it “SOUR”?). She is different from your usual music star in the charts. She has plenty of fucking attitude and is unapologetic about it. Her debut was outstanding, and that punk spirit and it was definitely refreshing to see the singles chart shaken up by this angry lady. 

She certainly isn’t your usual Disney Kidz star. She doesn’t give a fuck what you think about her. She swears profusely, has a punk spirit, and loves to rock out. “GUTS”, the follow-up to “SOUR”, makes that album look tame. Olivia cranked the amps up to 10, and her attitude and opinions. Like every record, there is a lull and softer moments, but she does go tonto for most of the album. She isn’t here to please her label boss but to tell you her life with no holds barred. She doesn’t give a fuck about being commercially viable. This record is indie to how a label wants their musicians to be.

Olivia grew up listening to her parent’s music collection, which consisted of grunge and rock, and she has incorporated that into this album, but with subjects of dealing with fame, relationships, and other teenage angst topics. I fucking love the opener ‘All-American Bitch’. You hear an acoustic being plucked at the intro and verses before it fucking explodes in the chorus as well as her vocal volume and attitude. The electric guitars add to that effect. I also loved the solo.

‘Ballad of a Homeschooled Girl’, which resembled ke$ha-like songs. You have softly spoken verses; occasional rapping with big choruses is another highlight. As mentioned, there are quieter, more reflective moments, but do not lack the angst featured on the full-in rock tracks. She even shows insecurity about her appearance on ‘Lacy’, an acoustic track, and confesses about being envious of what others see as “Perfection”. The soaring vocals bring that out. As gloomy as it is, ‘Making the Bed’ reminded me of that dream pop sound that we associate with Katy Perry in the late noughties and early tens. Like ‘All-American Bitch’, ‘Vampires’ starts softly with a piano rather than an acoustic guitar before synths and guitars hit you by surprise.

I was slated for rating “SOUR”, but fuck you. This girl is so versatile in her writing. She writes full-on rock tracks to tender piano ballads, and the vocal delivery convinces you every song means everything to her. Her lyrics, at times, also add an element of sarcasm and comedy.

This record is like a person with schizophrenia. One minute, it is full-on, then tame, and then full-on again, repeating a spontaneous tempo. In musical terms, it’s like having iTunes, iMusic, Tidal, Spotify and Deezer on shuffle. You never know what’s coming. Despite that, every record should have heavy and reflective moments. It shows the songwriter’s versatility as well as showing they are human.

Besides the Reytons, the Lathums, Frank Turner, Noel Gallagher’s High Flying Birds and Foo Fighters, the album chart lacks records that spark energy into your ears. Olivia has come along and made the album of the year that deserves to be nominated for the Mercury Prize next year. I wonder if this album will be number one next week. The album chart hasn’t had a mainstay this year yet, and the way music is these days, I don’t expect “GUTS” to break that but fuck me. It is a fantastic yet schizophrenic album. Olivia is a different breed to the new age pop star, which is a breath of fresh air. Another fucking monumental record. We need more musicians like this in the singles chart instead of nodding puppets for the label bosses.

Song recommendations: ‘All-American Bitch’, ‘Making the Bed’, ‘Ballad of a Homeschooled Girl’

9/10

Week 35: Royal Blood- Back to the Water Below

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The duo played a few songs on Later…with Jools Holland back in May, and ‘Mountains’ stood out, which showed that this was an album to look forward to. Contrary to what occurred at BBC’s 1 Big Weekend festival, where Mike and Ben showed their disdain at the crowd for not giving their performance enough attention, their teasing of the record on Jools’ show showed that that would be water under the bridge as the duo still had the sound that everyone fell in love with in the last decade.

This is the Brighton duo’s fourth studio album, and despite being short, I enjoyed it. I have heard indifferent opinions on the record. My only complaint is it was far too short at 31 minutes 22 seconds( Even the bonus tracks see it under 40 minutes.). Still, at the same time, the duo appear to be taking it back to the days when a single played on the radio was extremely short (Usually just under 3 minutes or barely over.). The album is also their debut in producing their music, which has borne fruit. It is not because it has obviously hit the top of the chart, but because the songs are good. One of the factors of Royal Blood experimenting in the studio was there was no one to tell them to play it safe.

There are plenty of influences of the late David Bowie’s Ziggy Stardust-era on ‘the Firing Line’ and the Beatles during their psychedelic phase. We then have funk on ‘High Water’ and the usual metal sound on ‘Shiner in the Dark’. There are even quieter moments with piano ballads—something which we are unfamiliar with the duo.

I loved the guitar solo on ‘There Goes My Cool’. The album is an eclectic mix of sounds that has inspired Mike and Ben at some point in their lives, and we are only starting to hear it now the duo have self-produced. Of course, there is the usual lull, which is found on every record you have ever heard during the middle, but overall, despite its short length, this was an excellent listen.

Song recommendations: ‘the Firing Line’, ‘There Goes My Cool’, ‘Everything’s Fine’

8/10