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
The best thing about doing this track-by-track review of Noel Gallagher’s High Flying Birds’ fourth consecutive No. 1 album is to recycle bits of the old reviews I have done on High Flying Birds’ previous records. Of course, my views on ‘We’re on Our Way Now’, ‘Black Star Dancing’, ‘A Dream is All I Need to Get by, ‘This is the Place’, ‘Blue Moon Rising’ and ‘Flying on the Ground’ will be my thoughts inspired by others and from Noel, himself. I found myself agreeing quite a lot with what Noel had to say on some of the aforementioned tracks, as you will find out along the way:
Everybody’s on the Run:
Well, from the outset, you know the album will take you on a journey narrated by Noel Gallagher as different swathes of emotion wash over you. The introduction for ‘Everybody’s on the Run’ begins with a snare complete with the angelic singing of the Crouch End Festival Chorus and Wired Strings, with the guitars being played at a sweeping pace to add to the dramatic beginning. Before his vocals kick in, the song starts dropping to a nice, slow and steady pace. Noel delivers the music with a passionate yet desperate tone as he tells the listeners that this song is about holding onto love in the most testing times. The arrangement shows grandeur yet remains true throughout. The bridgereminds the listener that Noel is still very much in touch with rock n roll as it has this element, complete with the Wired Strings playing at an intense tempo. The acoustic guitars amazingly overtake the electric guitars and lead into the final chorus, where Noel delivers his message with pure emotion: a good way and a brilliant start to the album.
the Death of You and Me:
The biggest noticeable thing is that Noel uses trumpets( Actually, it’s him imitating trumpets. However, they are used live.), but it adds a grandiose sound to his credit. Many would be forgiven for thinking he wouldn’t use this method under Oasis as it is not very rock n roll. Well, you’re very much wrong about this song and the albums that followed. Noel remains true to rock n roll, and there are still elements of the Oasis wall of sound alive, and a bouncy tempo seems to put the acoustic guitars into mere significance on this track. It resembles more of a broader version of ‘She’s Electric. Unlike ‘She’s Electric’, this track is sung with mature vocals, bringing new charm and vulnerability, which shows Noel has changed his perspective on life now he is married with children ( No pun intended.), which adds to the track. The middle section is dreamy and catchy as Noel cleverly implants the harmonies of “La, La, La”, which is always a surefire winner as it is uplifting and infectious to the listener’s ear. The end section is dominated by the creeping brass, reminiscent of the jazz you hear from New Orleans as the song jauntily continues to flourish. As Noel added the infectious sing-a-long harmonies, the track would go down well when he took it out on the road, and rays of lights from phones and cigarette lighters get held aloft in unison when the introduction begins. Hopefully, we will see those moments again when High Flying Birds next go on tour.
AKA…What a Life!:
The song pays homage to Noel’s days at the Hacienda, enjoying the vibes as Acid House shook the building to the core. Noel uses a piano riff throughout, which is also a trait of a great house track that embeds itself in your memory bank and never leaves you. Noel has a matter-of-fact nature with an evil twist that’s switched onto the world air about him. As he heads into the chorus, he sings with a raised voice and at the top of his lungs, emphasising the word “life”, making it sound elongated to “liiiife”, which is the very last word of the chorus. An ear-piercing guitar solo finds its way in after the chorus, acting as a link before the verse. The guitar solo sends shivers down your spine. It’s not exactly something you would expect on a Dance-esque track. The song ends on a soft “woo-hoo” repeatedly as the music doesn’t end in a flurry, but rather a gentle come down as if you were back at the Hacienda as the last acid track is played and faded out to end proceedings.
if I Had a Gun…:
This was the biggest eagerly-awaited track from the debut album. There were guitar tutorials and even remixes since the track was leaked online during an Oasis soundcheck from their ill-fated final tour. The soundcheck may have sounded sketchy, and remember, the song was stripped back then, but now the song has lived up to expectations. Actually, no, it HAS exceeded the expectations it was burdened with. A piano and an acoustic guitar accompany Noel’s vocals as he sings in a fragile yet moody and restless tone, “If I had a gun/I’d shoot a hole into the sun/And love would burn this city down for me (or you. Depending on where you are in the song.).” A song that sounds in the same vein as ‘Wonderwall’ is complete with a slightly different chord change and melody. Haunting backing vocals add to the whole structure of the song. Electric guitars also lead us into the first chorus, where he delivers the line “Scuse me if I spoke too soon( Again, depending on where you are in the song.)/ My eyes have always/ Followed you around the room/ Cause you’re the only/ God that I will ever need/ I’m holding on/ and waiting for the moment to find me” with pure conviction, which is apparent throughout. It is also an ode to his wife, Sara. The lyrics will undoubtedly ensure the song stands the test of time (It has so far.)and remains a timeless classic long after we have all departed. Even when the instruments start to catch up with Noel and surround his vocals, he maintains his delivery and doesn’t succumb to arrogance as the song goes on. That reason alone shows that Noel deserves all those accolades and his place in music history. It also shows his maturity as he maintains his delivery from start to finish. In that sense, it might be a departure from Oasis, but it still has the sound of Oasis but is more grown-up. This song will(and has proved to be.)a hit with people who didn’t even like Oasis; it appeals to everyone across the music spectrum. It has also proven to be a crowd favourite, with the crowd singing along.
in the Heat of the Moment:
Once again, the house piano riff is back but veers away entirely from a house track once it kicks in. The chorus is very punchy as Noel sings it from the top of his lungs.
Riverman:
The opening track from the 2015 album “Chasing Yesterday” involves a count-in before surprising the listener with a space jazz guitar riff. In Noel’s own words, the song was inspired by a night out with Morrissey when he heard Brian Protheroe’s ‘Pinball’ for the first time despite growing up when the song was out. Initially, The song would be something different until he heard ‘Pinball’, and this track is undoubtedly a nod to Brian.
Lock All the Doors:
It was a song that had yet to be completed to Noel’s liking since it was first written in 1992 and featured on an Oasis demo tape with the bootleg freely available online. Noel was never delighted with the introduction, verse, or bridge that surrounded the chorus, and like ‘Stop the Clocks’ and ‘(I Wanna Live in a Dream in My)Record Machine’, he has returned to it and turned into a song that he feels is now worthy of featuring on an album and be played live. The song sounds like typical Oasis choc-full of attitude, and the guitars turned up loud. The arrogance in the song is much more reminiscent of ‘My Big Mouth’ from the 1997 album “Be Here Now”. This was one of the few songs that Noel wanted Oasis to play after that tour. This is the closest Noel has got to the Oasis sound since he embarked on his solo journey.
the Dying of the Light:
It’s in the same vein as a Smith’s song with its melancholic sounds despite the lyrics fusing melancholy and love. It was the ‘If I Had a Gun’ moment of “Chasing Yesterday” and, indeed, an ode to his wife. It is also a chill-out moment as the listener cools off after going mental to ‘Lock All the Doors’. Whereas that song is fast, this slows down drastically, with Noel playing the chords steadily.
Ballad of the Mighty I:
The ‘AKA…What a Life!’ track of “Chasing Yesterday” in a sense, although it does have differences. The chorus is incredibly catchy. Something that Noel mastered during his time with Oasis. Noel sounds younger than his years on that album, especially on this track. Despite all the drugs, cigarettes, and alcohol, the time has been kind to him and still given him a voice (If not more robust.) that he can use today, unlike his younger brother, whose voice started to decline after 2003. Johnny Marr also perfectly features a guitar solo on this song, which completes the song. A further note on the chorus: you will find yourself humming or singing to it.
We’re on Our Way Now:
An exclusive made for the record at Noel’s brand new Lone Star Studio, King’s Cross, London. The track is produced alongsideex-High Flying Birds Jeremy Stacey’s twin, Paul ‘Strangeboy’ Stacey. Noel has stated the song is about leaving unsaid things when you don’t get to say goodbye to someone. The song has a breakdown section reminiscent of Andreas Johnson’s 2000 track hit ‘Glorious’. It’s a folk song but done in a Noel way, with its melancholic theme and an upbeat tempo as the track goes on. It also reminded me of ‘AKA…Broken Arrow’ off the 2011 self-titled debut album. I was surprised to hear Noel return to something similar to that record. I enjoyed the strings on this and the female harmonising by Jess, Charlotte, and YSÉE. I don’t care what anyone says; those ladies make the High Flying Birds richer in sound.
Black Star Dancing:
I have heard some extremely cutting reviews of this track, but I like disco funk and enjoyed it. I will also add that it is highly elementary to play on the guitar. Nile Rodgers happened to be at the same studio when High Flying Birds recorded this, and if Nile says it’s brilliant, it is fucking brilliant. The man is the king of disco funk. Noel said the title is inspired by the late David Bowie’s final album “Black Star”. He also said that he was watching Top of the Pops 2 on BBC 4 on a Friday night, and ‘Let’s Dance’ by David Bowie came on, which inspired him to write this. Noel also said he was humming the bassline on a trip to Tesco Metro of what would become this track that has angered many hardcore Oasis fans who can’t accept that High Flying Birds are making music that is far more than stadium rock. Once again, I loved the female members’ vocals and how they sounded like they were from the era when disco-funk was at its peak.
Holy Mountain:
So, just like what was featured on “Riverman” from the sophomore record, “Chasing Yesterday” from 2015 (Yes, I said, “Sophomore”. So fucking what? I’m writing this, not you.) We hear a horn section featuring. This was also the lead single to promote “Who Built the Moon?”. It’s a bit bubble gum pop but is exceptionally catchy. You will get the chorus stuck into your head.
A Dream is All I Need to Get by:
I remember hearing this when I acquired it for DJing, and I was taken aback by how different it was to ‘This is the Place’ the EP from where it is from. You can hear twinkling castanets accompanied by Noel’s acoustic guitar and haunting vocals; the song grows and gets grander as you enter the chorus. Of course, the track is inspired by the Smiths and particularly by Noel’s good friend Johnny Marr. The song is chilled out and dreamy. It also sounded great live when High Flying Birds recently performed at the Duke of York Theatre, London.
This is the Place:
The track name came when he looked at fellow Mancunian Tony Walsh’s poetry book ‘This is the Place’. Noel asked him if it was okay to use the title, and Paul felt honoured. The song is the leading track off the EP with the same title and the second part of the “Wait and Return” EP series. You can tell that Noel has followed on from his experience working with David Holmes by making music he likes to listen to and turning more experimental as he goes on the journey with High Flying Birds. Any songs like this wouldn’t have been welcomed in Oasis by a specific member and the narrow-minded fans who only expected a particular type of sound. This track is hugely psychedelic with spacey synths, bongos, piano, a guitar lick that gets in your head, superb female vocals (Especially by YSÉE.), and something that former Creation Records label mates Primal Scream would have put on an album in the early 1990s. You could say it was inspired by Noel’s nights at the Hacienda.
It’s a Beautiful World:
It’s incredible what effects you can use in the studio. Because of the way sound effects are used to make his voice sound muffled, complete with reverb (Is that the word I’m looking for?), I haven’t heard on the live version, in the warm-up concerts, or on Later…with Jools Holland in 2018. Nonetheless, it still worked live. This track could be described as both cosmic pop and psychedelic. You have a breakdown section before the solo where the touring member, Charlotte, speaks in French (Noel said it was too late to change the spoken word when Charlotte said she mentions the end of the world. Noel did not like that and would have preferred “It is not the end of the world” to tie in with the feel-good vibes of the record.) It is also worth noting she plays the scissors on this track (Yes, that’s correct. The scissors. Fucking mental!).
Blue Moon Rising:
No, it’s not a track about Manchester City. Yes, it does have ‘Blue Moon’ in the title (Obviously.). It is another disco track inspired by Noel’s viewing of Top of the Pops 2. His vocals accompany synths and relaxed guitars. The lyrics are not up to much, but Noel has a knack for taking your attention away from that with the production (Yes, sometimes Noel can write simplistic or minimal lyrics, but hold your attention with the music.). The track is relaxed and leaves the listener open to their interpretation of the meaning behind the lyrics during the verse. Still, in the chorus, Noel shows his outstanding vocal ability as he bellows it at the top of his lungs. You can see this live as theveins bulge out of his neck. His voice has got stronger as he gets older. The way he sings at the top of his voice has yet to cause noticeable damage.
Dead in the Water(Live Rté 2FM Studios, Dublin 2015):
Well, those who yearn for Oasis love this. This track was recorded off the cuff on-air at Rté 2FM Studios in 2015 during an interview and short performance during the “Chasing Yesterday” tour. Is it completely improvised? As Noel says at the end of the track, as the presenter asks him. Well, I don’t believe him. It was far too polished to have been made up there and then, especially when you hear the keyboard solo by Mike Rowe. There’s no way Mike could have done that without getting a feel for the track. This song talks about Noel looking to hold onto a love that seems hard to recover. Apart from the whole chorus, the standout line is where he talks about having no money while looking at a photograph. Now, who can this be about? Because he had plenty of money when he met Sara. Is this Noel reaching out to someone in the past? Was it written for Louise in his Oasis days, and has been given new life? Whoever it is about, it is compelling lyrically and reminds me of the sort of song by the Smiths that would have inspired him to write this. This is classic Noel, though. He is singing with a tint of melancholy in his voice and laying his soul bare.
Flying on the Ground:
Noel best described this and took the words out of my mouth when he said this track is a nod to Burt Bacharach with a Motown twist. Because it is. We know Noel has given nods to Burt in the past, but not yet with High Flying Birds until this exclusive track. A member of Noel’s team told him to put this out as he always plays it in the Sour Mash office. Thank God, whoever that person is, because I loved how Noel fused Motown and his love of the great songwriter Burt Bacharach. Again, the female members stand out, and it is refreshing to see Noel letting them showcase their vocals alongside him—a feel-good way to end this latest record by Noel Gallagher’s High Flying Birds.
Song Recommendations: This was extremely tough as they are all strong tracks, but after much consideration, ‘A Dream is All I Need to Get by’, ‘Flying on the Ground’, ‘Dead in the Water’
My first experience (Knowingly.) hearing the band from Manchester was while I was playing FIFA 06 in October 2005 when “Black and White Town” came on the official soundtrack. Not my favourite of theirs, but it did pique my interest and made me want to check them out. I was probably intoxicated at the time, but I had heard them three years back on Later…with Jools Holland, even before then, if I am being honest. Their songs “Cedar Room” and “There Goes the Fear” were everywhere, from radio to television adverts. Those two being my personal favourites of theirs. Not forgetting their acid house classic “Ain’t No Love (Ain’t No Use)”. Pardon? Yes, that’s correct. Doves started as Sub Sub in 1991 until 1996, when they worked with New Order’s Bernard Sumner. Since then, the members of Sub Sub decided to change direction with their sound and formed Doves in 1998, just after releasing “Delta Tapes” as Sub Sub.
Anyway, this is their fifth album after eleven years on a break, which initially was supposed to be the end of the band after 2009’s “Kingdom of Rust”. Jimi Goodwin even suggested during a gig in 2010 that it would either be one of their last or their last. But he was constantly dropping hints that maybe it wasn’t the end of Doves, a bit like the Stone Roses (Fucking hell. That’s the fourth Manchester band mentioned so far.) it looks like they have split again, but there is no confirmation on the official site or any announcement made. It’s just like Ian Brown with a cryptic quote, but he wants to concentrate on his solo career now. Jimi had been dropping these hints for six years and leaving cryptic messages via social media that maybe Doves were returning. And this year, they announced a string of gigs supporting various artists, but no mention of a new album that features the production of Dan Austin, who did their previous album. This one has been recorded at Frank Bough 111 Studios.
Now, I will do something different than usual with these reviews and do a short but sweet track-by-track review. Kind of a summary, if you will:
Carousels: Reminiscing about childhood experiences, especially at fairgrounds.
I Will Not Hide: Great vocals with a spine-tingling guitar solo. It’s very psychedelic over chill-out style music.
Broken Eyes: Doves, the Smiths, and Toploader. Save for Toploader, it is that typical Manchester sound.
For Tomorrow: Inspired by Portishead with the trip-hop.
Cathedrals of the Mind: a Hymn-like anthem dedicated to the late David Bowie.
Prisoners: Funk with remnants of “Black and White Town”. One that is ready for their setlist for when they go back on tour.
Cycle of Hurt: Returning to their debut album “Lost Souls” in 2000 with this ballad.
Mother Silverlake: An autumnal track that is very much country funk.
Universal Want: A segmented track that goes from acoustic guitar back to their acid house days and into old-school techno.
Forest House: A mellow ending.
Song recommendations: “Broken Eyes”, “Prisoners”, “Universal Want”
Well, I couldn’t write a review during week two because Little Mix’s “Glory Days” was still strong at the album charts’ peak. There was a change, however, in week three, and here is my review of the XX’s “I See You”:
Dangerous:
The introduction is a message to let listeners know that the band is back with a bang (fanfare can be heard). The first thing I noticed about the opening track to “I See You” is that it has a UK Garage feel. There is even a break in it that includes the classic UK Garage sub-low bass that So Solid Crew used quite a bit, among others. The fanfare also makes a return during the chorus and the break.
Say Something Loving:
The pulse at the beginning will fool the listener because it fooled Me. The CD stopped working and was stuck rather than this being the intro to the song in what is the second single off the album. This song has a very laid-back melody, and Ollie’s vocals have remained strong. The song also has the classic signature feel, which has been present since the self-titled debut album.
Lips:
Singing that can be heard in the intro sounds choral (is that the word I am looking for to describe a Church choir?) The African continent certainly inspired the drumming used in the track. Also, there is a handclap that is deployed during the verses. The track ends before you get into it.
A Violent Noise:
I found this track to be very chilled out. During the verse, you can hear a quiet, steady drum beat that compliments the song well. Despite the track’s name, the song is anything but ferocious.
Performance:
The light plucking of the electric guitar and the soft bass compliment Romy Madley Croft’s voice superbly. The passion and the emotion is also perfectly executed for the song. Again, as I found on most of the album, it has a very light, delicate and artistic touch included in the song. Violins can be heard towards the end and at the outro.
Replica:
Now, we are at the business end of the album (which, despite remaining chilled out, I have enjoyed listening to). The break with the pulsing keyboard seems like a build-up, but when the song kicks in during the break, there is still only a steady guitar riff and the keyboard is accompanied by a piano before there are more vocals and the track ends.
Broken For You:
The guitar solo before the mini-break is very subtle and calm. I listened to the crash of a gentle wave during this song; it is that relaxed.
On Hold:
This track was the teaser late last year for the forthcoming album and was released as the first single off the album. I enjoyed the riff of the electric and the bass guitar. The repetitive lyrics of the chorus always meant that this track was destined to be released as a single. During the intro and after the chorus, a sampled quote is repeated.
I Dare You:
Again, the XX have stuck to their guns and carried on the theme that has so far featured on the album (steady, calm and very chilled out, albeit the opening track). In the chorus, that classic hook is evident, and I couldn’t help but feel that the harmony used was inspired by Kings of Leon’s “Use Somebody”. Once again, the track is short and sweet, which also points towards a radio-friendly single.
Test Me:
The album’s conclusion has a very oceanic vibe as if you are deep-sea diving and exploring the wonders of the belly of the ocean and what it has to offer.
Overall Review:
I have been a fan of the XX since hearing “Islands”, and I thought the review would be quite elementary, but I must confess that I struggled somewhat as the album after the opening track doesn’t seem to deviate much. It is a good thing because, on the whole, it is yet again another good album by the band and fully deserving of its number-one placing, but it didn’t challenge me to write a longer review on each track. They say the XX is classed as Indie/Alternative, but I would say that “I See You” (albeit track one) sits comfortably in the chill-out genre. The vocals supplied by Ollie and Romy are again exemplary, and I can see the band continuing despite Jamie XX recently working on his solo material and DJing. I sensed that I was stranded on a desert island listening to the sound of the waves gently crashing onto the island’s shore, or I was exploring the wonders of the ocean whilst deep-sea diving. The album was short and sweet, with the play time lasting just 40 minutes. It also has plenty of radio-friendly tracks that can be used as future singles, for example, “I Dare You” and “Lips”. If you’re a fan of the XX, you will like this album regardless, but if you are not, you might feel that the album should have more go in it. 7/10
Honest Opinions 