It’s Christmasss! Hahaha, as Noddy Holder from Slade once bellowed. I find it wholly appropriate to say that because, once again, Michael Ball and Alfie Boe sit atop the album chart, and it always makes for a great Christmas present. The duo first teamed up in 2014, and six records on have been quite a success. This album is also a poignant milestone—it marks a decade of their beautiful collaboration.
I am also surprised to discover that I might just well be the FIRST individual to review this new record. No pressure, then, eh? One of the first tracks I would like to highlight is their cover of Heather Small’s ‘Proud’. The song represents the duo’s pride in their roots, welcoming people from all backgrounds into their world and feeling proud of their families.
‘Homeward Bound’ was chosen because it is about being on the road and longing for home. The great American sonwriter Paul Simon also wrote it in Widnes train station.
‘Welcome Home’ is by a small American band called The Welcome Home, which is from the same place as R.E.M. The song combines a modern hymn with a Southern American style of Coldplay. Boe discovered it while trawling through Spotify.
Seeing ‘Ferry Cross the Mersey’ by Gerry and the Pacemakers on the album was a personal highlight for me. As a fan of Liverpool, and knowing that Boe is also a red, it’s a special connection. Another standout is the timeless ‘Baker Street’ by Gerry Rafferty. The album is a treasure trove of classics like ‘Dirty Old Town’, Take That’s ‘Rule the World’, The Hollies ‘He Ain’t, He’s My Brother’. But my heart belongs to the closing track ‘What’s the Craic? (An Irish Medley)’. This track, a medley of traditional songs from Mother Ireland, including ‘The Irish Rover’, is a perfect ending to a brilliant album. It’s a medley that’s perfect for any celebration or festivity.
Song recommendations: ‘What’s the Craic? (An Irish Medley)’, ‘Dirty Old Town’, ‘Welcome Home’
It was great to finally see Coldplay live and experience all I have witnessed watching their performances on television/listening to them. I went to Radio 1’s Big Weekend in spring with one of my best friends, and the experience is even better when you are there. Of course, there were still people watching it through their phones, which beggars belief. I prefer to be in the moment, and sharing the moment with Coldplay is one of those times you are glad to be alive. The love and harmony are just immense. It was excellent to experience it before they split up. I was looking forward to hearing “Moon Music” after hearing some of the tracks teased during Glastonbury headliner. Everyone else was also looking forward to it, as the pre-sale for the album sold out at least five months before it was released. Unfortunately, it all was an anti-climax.
The album’s message of love and harmony is evident in its ten tracks, but it seems the artists were too focused on their zen during the sessions. The lyrical content is kept to a minimum, as seen in the opening track, where Chris’s vocals only appear in the final minute. Before that, the track is a soothing instrumental , best described as ambient music.
Of course, one of the tracks featured during the Glastonbury headliner ‘feelslikeimfallinginlove’ is one of the best ones. Chris’s vocals are more pronounced and the kind of song that got Coldplay scores of hits. Lyrically, though, is it found wanting again. The bridge section is excellent, where it is call-and-response, which the band could get the audience to sing back to them, and of course, there is the “la’s” hook, which will work live. I wish I could say I enjoyed ‘We Pray’, and to be honest, it features the brilliant Little Simz, but then it also has Burna Boy as one of the featured artists, and he ruins everything he touches, so as soon as he came on it, I skipped it.
‘GOOD FEELiNGS’ is a funky track, but as the common theme, the lyrics are not great. What about ‘iAAM’? What is that about, lyrically? Chris sings about standing on a sea of pain, but at the end of the lyric, he says that he will be back on his feet again. I mean, that isn’t very smart, to say the least. I suppose Noel did write “Slowly walking down the hall/faster than a cannonball” for ‘ Champagne Supernova’ back in 1995, so it might be just a case of Chris using rhyme.
Don’t get me started on ‘JUPiTER’. The subject matter is to make people aware of what it is like to be a lesbian and face homophobia from another person’s perspective, which isn’t a bad thing, but the lyrics are basic.
In a nutshell, I was highly disappointed with the final album. However, the message of peace, love, and harmony is present, but it’s not the triumphant conclusion we were expecting. The tracks are drenched in ambience, overshadowing the vocals . And when the vocals do appear, the lyrics don’t quite live up to their potential.
I didn’t know who Sabrina Carpenter was until I attended Radio 1’s Big Weekend this year, and she came on before Olly Alexander as the sky started to get cloudy. There was momentarily rain on that spring bank holiday. She would later return to do a song with the closing headliner, Coldplay (I bet all those fanatics were gutted as they missed that.). This is when I found out just how popular she was. The barrier was lined with young girls waiting for her set. When she eventually went onstage at about five in the afternoon, it was only what I would describe as being transported back to the 1960s, watching The Beatles perform as young girls screamed in your ear. Honestly, it was that mental. The young girls surrounding me and my friend went into a frenzy during the performance and knew all the words to every song while screaming at the introduction of each song. My ears were ringing after hearing the youngsters screaming in my ear. I thank god that modern PA systems are so powerful now that it doesn’t affect the artists onstage anymore.
I could still hear her songs regardless of all the pandemonium in the crowd. The biggest for ‘Espresso’- a song that had been number one for two months at the time. It’s funny that she has just started to get fame, considering she has been around for over a decade. It all began to fall into place after two tracks off her previous album, “Emails I Can’t Send”, the two being ‘Nonsense’ and ‘Feather’ went viral. Of course, the biggest breakout was the one already mentioned in this paragraph, and features on this record as it happens ‘Espresso’. After that track was met with international approval, everyone was on the edge of their seats, eagerly anticipating the release of “Short n Sweet”. As I predicted in a previous review, I knew Sabrina would have no problem reaching the summit of the album chart in several countries. Enjoy my track-by-track review of her latest album:
Taste:
We begin with ’Taste’, which I am pretty certain she opened her Big Weekend set with. It is easy to understand why this song opens the album because it is utter earworm. This has become a fan’s favourite with her incredible vocals and uplifting instrumental backing her up. However, the subject is quite sinister. Sabrina is taunting her ex-boyfriend’s new flame (I say that. She is an ex-ex-girlfriend.) that even though they are no longer together, his lips still contain her taste. It isn’t all evil, though, as she plays around with metaphors and uses comical elements, which she is famed for. This gives her tracks of feeling retro and modern simultaneously.
Please Please Please:
It’s another fan favourite. It has also been featured heavily on social media. This one is about being in a relationship that sometimes you are not entirely proud of despite being in love with them. Sabrina is concerned that her significant other will cause her great embarrassment in a social setting and, therefore, could damage her reputation within her profession. Of course, once again, Sabrina’s lyrics are playful about the situation. This one has resonated with fans and regular folk as, at some point, we have all been in this scenario.
Good Graces:
I can already tell this record will be full of heavy subjects with light-hearted humour, and this one is no exception. An acoustic greets us at the intro accompanied by synthesisers and her mesmerising vocals, which are the perfect ingredients for a pop RnB track. Sabrina is heavily inspired by her idol, Ariana Grande, as she discusses her self-worth. Letting her lover know that if they cross the boundary, she will leave and hate them. If they don’t? She will remain loyal and want to spend the rest of her life with him. Although she may be popular among young fans, Sabrina uses swearing with a carefree nature. This song alone contains a hook that is “I won’t give a fuck about you”, which she repeats over and over. You can hear this in the intro. You have to admire her humour. I wonder if she would be any good at stand-up.
Sharpest Tool:
Pay close attention to this one. She cleverly starts a lyric with the previous lyric’s word , a testament to her songwriting prowess. It’s a clever bit of songwriting, possibly a subtle dig at her boyfriend’s intelligence. Even he , through her canny lyricism, should understand her dissatisfaction with the relationship.
Coincidence:
It is most certainly a crowd participation song, as the track has the classic “na-na-na” vocalisation. The instrumentation is also whimsical, adding a fun and entertaining element to the song. And let’s not forget her now infamous trait of pouring sarcasm into her lyrics, which adds a witty and humourous touch. Sabrina becomes suspicious of a woman who frequently visits her and her boyfriend despite him reassuring her nothing is happening. Unfortunately for him, Sabrina’s womanly instincts kick in, and she knows he is unfaithful with this frequent visitor. She also taunts her lover’s lack of brains to cover his tracks.
Bed Chem:
Wow! What a refreshing change in direction. For the first time, Sabrina steers away from the sarcastic-laden tracks to a more uplifting song. This new track is a breath of fresh air, with no sinister undertones. She explores the joy of being in a new relationship and feeling infatuated all over again,perfectly matching the RnB production and her astounding vocal range.
Espresso:
Now to the song of the moment, which changed Sabrina’s venture into music forever. Its whole uplifting nature , a rarity in recent times, is reminiscent of Pharrell’s ‘Happy’. It’s that kind of track. With no hint of misery and a chorus that’s impossible to resist, it’s a song that’s impossible to escape. Even if you’re not a fan of hers, you’ve undoubtedly heard it, whether you realise it or not. It’s a song that’s everywhere, and its appeal spans generations. This quintessential pop song is for all ages. Will it be the biggest hit of the year? Who knows?
Dumb & Poetic:
Sabrina returns to her trademark songwriting, sharing her perspective on a past relationship. She confronts an ex who mistreated her, seeing through his attempts to appear enigmatic. She takes pleasure in dismantling his ego, particularly relishing the reminder that he only pretended to be a man.
Slim Pickins:
Another signature song, this time set against classic country-folk instrumentation. The former Disney Kid also incorporates the twang we associate with country music. The title track is apt as it explores the theme of choosing a partner from a pool of ‘evil’ men, or remaining single. Is this change in musical direction surprising? Not at all. The artist’s ability to seamlessly transition between styles is a testament to their musical talent.
Juno:
I was unaware , this song is a tribute to the 2007 film ‘Juno ‘, that addressed the issue of teenage pregnancy. Sabrina’s song, with its humourous take on the subject, adds a fresh perspective. The song’s structure revolves around Sabrina’s love for her man and her desire to have his children,hence the Juno reference. In terms of production, it’s a quintessentially pop track.
Lie to Girls:
The first ballad appears on the penultimate track. This is the first time that she gets serious on the record. This heart-wrenching ballad tells an ex that there is no need to lie because if they like him, they will be gaslighted and accept his behaviour towards them. She also takes aim at her father, who cheated on her mother—stressing that she will not be as forgiving as her mother if a man does the same to her. She also confesses that she is no different from other girls as she gets gaslighted sometimes, even though she knows the relationship is doomed deep down.
Don’t Smile:
The closer is a dream-pop track, a genre that Katy Perry has skillfully utilised. The production feels light and brings the listener a sense of relaxation, perfectly fitting the dream-pop style. The song itself reverses a common adage, encouraging you to cry that it’s over and not to smile because it happened. Again, this is directed at an ex, and she is basically saying that he should regret losing her and that he struggles to move on. It’s a unique twist in a dream-pop setting.
Song recommendations: ‘Sharpest Tool’, ‘Taste’, ‘Good Graces’
Well, as you will recall, I had the pleasure of reviewing Tom’s previous album, “Evering Road”, which I enjoyed for his maturity and ability to show humility for all the things he had done wrong in past relationships. This time, he is back with “What ifs and Maybes”, which was tactically delayed to avoid a battle with Foo Fighters, and Noel Gallagher’s High Flying Birds—then postponed another week to avoid a fight with Niall Horan. This week, despite the competition, it was easier for Tom to take the top spot with his 80s-inspired album that echoes that of Abel Tesfaye, Coldplay, and Ellie Goulding of late.
The record opens with ‘How Does it Feel’, one of the teasers. It is an uplifting 80s synth-pop track that makes you want to dance. The second track, ‘Remind Me,’ is quite peculiar. I believe it’s a song about Tom’s forgetting lyrics when performing. Has this happened at all during performances? Tom fans, let me know. Also, what is apologising for? Something has happened in his life? Or forgetting lyrics during a performance? Going by “Evering Road”, I’d say the former.
My only complaint with the record, including on the Apple Music Edition, is that most tracks need to be longer. You get going with the uplifting melody, cancelling the melancholic lyrics, and then the song ends. I am trying to remember any song being over five minutes. The longest is over four minutes. Some might moan that melancholic lyrics over uplifting melodies don’t work, but it’s been done for centuries and is still being done. How anyone can take issue with it is a right miserable bastard who doesn’t understand that art is abstract. ‘Crown Your Love’ is one of the slower ballads where Tom brings melancholy lyrics with an optimistic delivery, and why not? Not every ballad has to have a vocal delivery that matches the nature of the lyrics. It is pretty refreshing. He also adopts this on ‘Here’. It was nice to hear Tom move on from “Evering Road” with a more uptempo album. I like his take on 80s synth-pop mixed with slow ballads and, of course, conscious lyrics.
If you listened to the Apple Music Edition, as I did, you will like the club banger ‘Lionheart(Fearless) featuring Joel Corry. I have heard it in a FIFA game or something. Anyway, it is uplifting club music. I gave the album 7/10 for the tracks being too short and that some sounded like they were put on the record to add more tracks. Some even sound like B-sides.
Song recommendations: ‘How Does it Feel’, ‘Lionheart(Fearless)’, ‘Crown Your Love’
Regardless of what I am about to say in this review, I have always found Muse hard to listen to their studio work. However, they are beyond amazing live. I thoroughly enjoy their spectacular headline shows at festivals. I saw one particular performance from the current “Will of the People” tour, complete with lasers, great visuals, hypnotic guitars, Matt’s futuristic jacket and a robotic hand where he somehow manages to know the correct swiggles to draw on the touchpad of the glove to form the melody.
However, despite their failure to create their live shows in the studio, what cannot be ignored is their lyrics and subjects—the subjects ranging from anti-establishment, pro-freedom, and sex. Not many people talk about the drummer Dominic Howard, but he more than compliments Chris Wolstenholme’s bass wizardry and Matt Bellamy’s versatile vocals that also sometimes ape the guitar. The Devonshire trio have been going since 1994 and released their debut “Showbiz” in 1999. However, it wasn’t until 2001 and their second record, “Origin of Symmetry”, that the band started to get noticed, with ‘Plug in Baby’ charting just outside the top 10. Their biggest success chart-wise is ‘Supermassive Black Hole’, where Chris does the whispered chorus. They are yet to get a number one, but that isn’t a surprise when you consider they are more of a live band.
Amazingly, “Will of the People” is their ninth studio album and their most politically charged to date. This could well be told from Matt’s perspective, but it is a worldview. We are sick of the society we currently reside in and grow angrier with the establishment.
The opening track is the title track, which acts as a call to arms to start a revolution against the establishment. I first heard this as an introduction song on their current tour. They may now perform it rather than the studio version playing before they go onstage. The song features a baying crowd over AC/DC-esque guitars with Matt with venom in his vocals that he will lead the revolution and overthrow the establishment, which is quite apt during the current climate. It certainly got my attention from the off, at least.
The leading single is ‘Compliance’, which I had heard during this particular concert I watched on YouTube, and I have to say, I loved the concept behind it and the thought-provoking lyrics. However, this time, Matt does it from the oppressor’s perspective. It is also a condescending dig at the establishment.
One thing I loved about the album is this revolutionist vs oppressor topic over futuristic melodies, with Matt muting the chords with his palm; synths and elements are taken from the Weeknd. There is even room for them, once again, to pay tribute to Queen with ‘Liberation’. What do I mean? It just sounds like Queen from the instrumentation to Matt’s vocals. This is Another song told from the perspective of the people determined to revolt.
However, there is a turn of events on ‘Ghosts(How Can I Move on)’, which, at first listen, I thought had Chris Martin (Coldplay) on vocals. The song screams all things Coldplay. The disappointments come on ‘Kill or be Killed’ and ‘Won’t Stand Down’. Although the songs have great titles, they sound more like a messy breakup rather than fighting for one’s freedom from the establishment.
Muse, like several others, are pretty adept at recycling their songs. Although they have been written and recorded over the past year, they still sound familiar, as seen in ‘Won’t Stand Down’, which sounds similar to ‘Supermassive Black Hole’. ‘Verona’ reminded me more of U2, particularly Edge’s riffs. Going back to Muse recycling, ‘Euphoria’ sounds like ‘Time is Running out’ vs Donna Summer’s ‘I Feel Love’.
My standout is the closer ‘We are Fucking Fucked’. The lyrics are delicious and aptly mimic the tone of what we all feel. We are fucking fucked, and the lyrics expressed that with mentions of world war, et cetera. It also sounds a bit like ‘Knights of Cydonia’, albeit there is no call-to-arms, but rather a pessimistic view of not being capable of sorting out this shitstorm we are all in. What a way and a statement to end the album.
However, I found the record quite disjointed and a mishmash of Muse’s past work slightly reimagined. The messages are also contradictory because Matt is asking for a revolution, yet then is rather pessimistic, moaning and unwilling to do anything. Again, Muse has made an album that is only for the live arena. As I said, their studio work does not ape the effort put in when they perform live.
Song recommendations: ‘We Are Fucking Fucked’, ‘Will of the People’, ‘Compliance’
The title of their fourth album is based on the character “the Writer”, created by the late artist Frida Kahlo, so you might say that Coldplay has inspired the band as they used a title inspired by her.
As I mentioned in the previous paragraph, this is the band’s fourth album, but over six years, showing that the band is eager to release albums regularly. As you may recall, I reviewed their previous record, ‘Foolish Loving Spaces’, in 2020 (I think). They put out shoegaze music that somehow sounds in the now. Remember that they managed to sell out small venues before they were signed, which is some achievement. Unlike most shoegaze bands, they sound entirely different from Slowdive and Ride.
As usual, the band sticks to what they know. Why would they take risks with the following they have garnered and the sound being so booming? They are still selling out venues on tour. I am sure they will eventually, but it doesn’t matter because no one is bored of their sound. “Ribbon Around the Bomb” starts and ends with short instrumentals, which, as you know, are a waste of time. My favourite has to be ‘the Sulking Poet’, especially the piano version on the bonus disc. There’s something beautiful about hearing it stripped back with Tom’s delicate vocals and the catchy hook: ‘Ooh la la, ooh la la, ooh la la Juliet’. You think, “What the fuck?” but it sucks you in, and trust me, it doesn’t leave your head for quite a while after.
It is Tom’s vocals that make the album. Most of the album is layered with strings, guitar over synths, and Tom’s delicate vocals. I cannot recall when he used any form of aggression, which makes the record a blissful listen.
Unlike their previous three records, one noticeable thing is that the standouts are not found in the singles. For example, ‘Born Wild’ and ‘Cinerama Holy Days’ are songs you would find on a single’s b-side, and they might be in the future. They are light and dreamy. ‘Everything About You’ is clearly about Tom’s girlfriend, who I believe is the sister of one of his fellow band members. I remember seeing a documentary recently about them playing at Stockport County’s ground, which was mentioned. ‘Visions’ is the longest track on the album, seven minutes long, where Tom talks about how he has changed from a youngster with a devil-may-care attitude into a mature husband. It makes the previous sentence redundant now.
If you are a fan of Blossoms like I have been since I heard ‘Charlemagne’ and happen to see them support the Stone Roses at EE Wembley, then the way this record sounds makes no difference, nor do I feel the band wanted your perception of them to alter. It is a quintessential Blossoms album. However, I preferred the bonus disc, ten songs stripped back with Tom’s delicate vocals accompanying the piano.
Song recommendations: ‘the Sulking Poet’, ‘Cinerama Holy Days’, ‘Visions’
Bizarrely, the first time I heard of this band from Bedford was way back in 2008 on some weekly Xbox Live magazine show. I didn’t know who they were, but when they played a snippet of their latest track, I knew they would challenge the likes of Enter Shikari, who are close in terms of geographical distance. They reminded me of several bands of that ilk. Especially Bring Me the Horizon. You can add Royal Blood to that list now.
“Amazing Things” was released late last year but, for some reason, didn’t hit the top spot until this year. A song featured on a recent television programme might have got the viewer’s attention. The album explodes into ‘Gumshield’, undoubtedly aptly named as the song is reminiscent of being in the ring. The production is brilliant with its use of synths, orchestras, full-on metal guitars, and, as I mentioned, the razor blade vocals provided by Rob Damiani and Matt Donnelly. The assault on your ears is ferocious, including the vocals. After that intro, you are fully expecting an all-out sound.
Surprisingly, I enjoyed the second track, ‘Manchester Super Reds No.1 Fan, ‘ despite not being a fan of Manchester United (It’s pretty obvious the song is about them). I enjoyed it for its in-your-face rock attitude. I liked “Amazing Things” more for its instrumentation than the lyrics. They are not up to much, albeit they are witty, funny and sarcastic, backed up by vocals with attitude. The instrumentation is what makes it, though. It follows the same premise as their previous album, 2018’s “Technology”. You might say the band embraces their posh background on their latest record. Unsurprisingly, the latest five singles released from the album are on the record’s first half. I will go into that more in the next paragraph or so.
I loved “Amazing Things” for its grandeur with the instrumentation and full-on metal rock, and the vocals of Mattand Rob complement each other well. Both have different styles, and it keeps the listener interested. However, going back to the previous paragraph about the singles coming from the album’s first half, it is no surprise because that is where the energy is. You lose interest after ‘Anaheim’ because the songs lose that intensity. It ends with a bang with ‘Easter Sunday’, which is worth listening to until completion. Concerning “Technology”, “Amazing Things” is the better record with excellent instrumentation, subject matter, and better structure.
Of course, if you are a fan of Don Broco, you will be happy with the end result. You will also feel the same if you like their genre. However, there is also other stuff for listeners to enjoy, like synthesisers fitting with the synth-era trend that is currently in full swing. Everyone appears to like the 80s sound at present. It differs from the Weeknd or Coldplay’s use of synthesisers, but it works nonetheless with their creativity. I cannot remember what track it was at the moment, but one of them uses synthesisers that reminded me of futuristic films like Tron. As I mentioned, the first six tracks blow your eardrums to pieces and have the intensity to match. The second half is like the middle section of a live performance, where things are slowed to let the audience catch their breath and take in some fluids. However, the final track is fit for an encore to leave the audience experiencing a rush. I only know a little about the band, but I have been impressed again. The follow up will have to be highly astronomical to beat this.
Song recommendations: ‘Gumshield’, ‘Manchester Super Reds No.1 Fan’, ‘Easter Sunday’
My introduction to Coldplay was the year of their debut album “Parachutes” at the start of the millennium. It wasn’t ‘Shivers’ I heard either, but instead their classic song ‘Yellow’. While on a break in the common room at sixth form college, I remember hearing it on Radio 1; I think that was the station, and the DJ was Chris Moyles. I loved the idea of someone ready to do all crazy things to prove their love to another. Not to mention the instrumentation itself. Later that day, I went home to do some coursework and download songs through Napster (Remember that?), and of course, ‘Yellow’ was one of the tracks.
“Parachutes” was a tremendous debut album, and everyone thought they would follow in the footsteps of Oasis, but the band had other ideas from the second record onwards. Indeed, Chris Martin said the band was created in the same image as his idols, U2. U2 upset many people when they changed from punk to make music to appeal to a broader audience.
However, unlike U2, Coldplay is the marmite of music. You know where I am going with this, so there is no need to explain further. Some idiots follow like sheep and believe it is “edgy” and “cool” not to like Coldplay, whereas some simply do not like their music because they changed dramatically after “Parachutes”. I do not care what music they make because I enjoy it regardless and respect their creativity. I have been slaughtered for liking the band. So why do they have such a vast fanbase if many hate them? Well, it all boils down to their live shows. There is something magical about seeing them live. Like U2, they can have the audience in their palm at any stadium and are frequent headliners at signature festivals. Regarding live performances, Coldplay is the second most significant band in the world behind U2.
However, when becoming a considerable stage presence, frontman Chris Martin might have lost his edge to write songs in the studio. Their last album was 2019’s “Everyday Life”, which, in the many accolades the band have received, was a massive disappointment as it was their first album in 20 years not to go multi-platinum. It didn’t fare too well in America, neither where the band are top-rated. “Everyday Life” didn’t get close to the sales made by 2015’s “A Head Full of Dreams”, which featured the likes of Beyoncé, Tove Lo, and their good friend Noel Gallagher (I recommend watching the film of the making of the album, and the tour.) I am not sure why the previous record didn’t do well. Maybe people didn’t like the concept of the band experimenting with African and Gospel. That’s what the band are about, though. Experimentation.
The band didn’t run away after the disappointment of “Everyday Life”. Its poor reception has motivated them to return more robust and show people that they are keeping their standards from slipping after 20 years at the top. Coldplay is still played on Radio One during the pop-friendly daytime, unlike most of their counterparts who have been consigned to Radio Two as their music isn’t “hip enough”.
To make their presence known, the lead single ‘Higher Power’, which is a track that is the Weeknd-esque with the electronic 80s theme, was premiered in the Mercedes advert to promote their new electric car after Chris had stated the previous year that Coldplay would not be releasing anything until 2022. It took many by surprise; some said that Chris was a hypocrite for saying such a statement and using it in the advert for Mercedes. It also boomed out in the International Space Station. So from there, only a few expected a new albumby the band, going by Chris’ comments. Even though ‘Higher Power’ was released, many still expected that to be the sole materialreleased until next year.
The collaborators of the previous record were not acquired for “Music of the Spheres”. Coldplay got Max Martin on board toproduce the album and gave him complete control. Max brought in the likes of Selena Gomez and theextremely popular K-pop boyband Bangtan Boys, aka BTS. I also like that London’s Jacob Collier was also acquired.I can imagine the criticism they will get for working with BTS, but Coldplay has always known that the best way to garner new fans and appeal to a broader audience is to remain relevant in the pop charts. Who knows, maybe some BTS fans have been turned onto Coldplay through the collaboration. That is what the band are aiming for. Remember that most music is now streamed via Spotify, so that the streaming hits will propel the band even further.
This is familiar for the band in that they have made tracks like ‘A Sky Full of Stars’ and their 2015 album ‘A Head Full of Dreams’ while featuring guitars was centred around electronica. On“Music of the Spheres”, I noticed that the synths feature prominently and are the loudest instruments. On a side note, some songs do not have names but are represented by emoticons or, as the youngsters call them, “emojis”. You need to go to Wikipedia to have a rough idea of what they are called. For example, the title track is stylised as an emoji of Saturn. Who would know that that planet represented the title track’s name? I know the band has used emojis as the names of songs before, but although it is unique and fun, it could be clearer at the same time to decipher the name. The track featuring BTS shows their dynamic ability and blends into the K-pop scene. Of course, there are also moments of what we know the band to be on tracks like ‘Humankind’ with an element of Van Halen’s ‘Jump’ or Huey Lewis and the News ‘Power of Love’. ‘People of the Pride’ sees the band again flirt with Experimentation as they try to sound like Muse. However, this time, Coldplay appear to be out of place.
What annoyed me about the record is that there are many instrumental tracks that I have classed many times on previous reviews as simply throwaway tracks that shouldn’t feature on albums. The record does drag somewhat, and it is a welcomed relief when the ballads arrive. My favourite, of course, was ‘Human Heart’ or rather just a heart emoji featuring the highly talented multi-instrumentalist/producer Jacob Collier, who always uses his falsetto range. Now, I usually detest that piece of shit known as auto-tune, but it is used correctly to give Chris a Bon Iver effect on his vocals this time. Yes, Bon Iver’s Justin Vernon is the only artist I can think of who uses auto-tune to better his vocals. I can’t believe I am saying this, but ‘Human Heart’ is one of my favourites off the record because it sounds like a Bon Iver track.
The obscurely named ‘Biutyful’ (From what I got from listening, it is pronounced “Beautiful”) sees the band try their hand at K-pop without the help of BTS. It works and has a beautiful melody. One wonders what the song’s original concept would be and why they decided to take a leap of faith in K-pop. The theme of the record is centred around the Universe. Indeed, the subtitle is “Volume 1. From Earth with Love”, which fits in with the humanitarian ways of Chris Martin. Chris is all about saving the planet. The album closes with ‘Coloratura’, which is far removed from most of the sound on the record.
This 10-minute and 17-second track is your typical Coldplay anthem that rings out in the large stadia they perform in. The song includes strings during the instrumental breaks and synths that sometimes stand alone. The record itself is…well, a bit mental. There is no structure evident (If there is, fuck knows where.), and it reminds me of an album called “the River” released by Pink Floyd during the last decade. That record also needed an actual structure in place.
However, I did enjoy “Music of the Spheres”, but it appears the band has rushed this rather than taken their time to make the album more structured. You go from an instrumental into a track, then a ballad, then a track that can’t make up its mind, whether instrumental or vocal. This is where Coldplay have fallen, in my opinion, on this album.
Song recommendations: ‘Human Heart’, ‘Biutyful’, ‘Humankind’
An exciting start to the record. This is more of a short intro as it only lasts for under a minute and is sombre-sounding. Why the title has an underscore? I haven’t got the faintest clue. Arcade Fire may be asked about it during an interview.
Everything Now:
I know the first track was called the same name with the “Continued” added (Not forgetting the odd underscore.), but this is the title track and the official start of the record, if you will. The lyrics, “Every inch of sky’s got a star, every inch of skin’s got a scar”, certainly jumped out at Me. Yes, the track is quite upbeat, but the lyrics that encase it are cynical. The song may be positive, as mentioned, and the lyrics profound, but the message contradicts the joyful sound with lyrics like, “Every time you smile it’s a fake” and “Stop pretending you’ve got everything now”. It is attacking the dreamers who have yet to achieve their goals in life. The most bizarre thing is that we have a Coldplay-esque sound going on with the piano, strings and a choir, which works quite well, and it’s catchy as fuck.
Signs of Life:
Well, this is very controversial, to say the least, with its sexist views. The story told in this song is about a man who stays out late every night drinking. He thinks that “Love is hard, sex is easy”, as mentioned within the lyrics showing that he would rather shag every woman that comes his way and objectifies them than go through all the hassle of love because he just can’t be bothered with it. There’s a Star Trek/Austin Powers seductive bassline to further add to the effect of the theme, though towards the end, the song goes rather odd as you get some Michael Jackson-inspired instrumental.
Creature Comfort:
Another very dark track is evidenced in these two lyrics, “Some boys hate themselves, spend their lives resenting their fathers” and “Some girls hate themselves, stand in the mirror and wait for the feedback”, all delivered by Win Butler with a raging yet melancholic vocal. This could also be about Win recalling the days when he was bullied at school, and he is drawing on his own experiences with the delivery and the lyrics chosen. Both of these lyrics reflect society and are quite philosophical at the same time. I’ve heard listeners saying they are not fond of this track because it is nothing but patronising as Arcade Fire is wealthy enough not to be concerned with any of the subjects they talk about, but it’s a good track, so I don’t care what they think.
Peter Pan:
Well, just like the theme, the music that accompanies the song is very Disney-esque. It would have been great if Arcade Fire had been around when Peter Pan was first released because the music would have fitted the film perfectly. Win also has been a fan of the film and the book since childhood. He even drops in the twee line, “Be My Wendy, I’ll be your Peter Pan”. This song is also about the innocence of youth and being carefree, which we all crave as we get older because, in Never Never Land, we are wrapped in a safety blanket from all the bullshit we eventually have to face after childhood.
Chemistry:
Different from the Semisonic track with the same name. Again, minus the creepy lyrics, this song would be suitable for a children’s television programme with its pop reggae.
Infinite Content:
This would be the name used for the current tour. I didn’t think much of this track. It is very short and seems like an interlude.
Infinite_Content:
Okay. The same song title as the preceding track, but with an underscore (Why???). Again, not much effort has been put into this track. Either Win ran out of subjects to discuss when this was being recorded in the studio, or he couldn’t get any lyrics to fit around the music. Either way, it feels like another interlude.
Electric Blue:
A track that seems like a nod to the late Prince (Or symbol or whatever you want to call him. I prefer Legend.) Why? Well, with lyrics like, “Cover my eyes electric blue, every single night I dream about you”, you can hear Prince writing a song like this, and the whole feel of the track is very Prince-esque.
Good God Damn:
The riff is a bit of eerie disco. The lyrics suggest this song could be about relaxation, where we feel most relaxed when listening to our favourite record in the bath.
Put Your Money on Me:
I enjoyed this song live. Even though it is over six minutes, it works well live, but on the record? It may be too long.
We Don’t Deserve Love:
Another cracking song played live with Win and his wife Régine complimenting each other well. This track is a bit heavy with its religious undertones and your mother lecturing about the mechanics of love and how you don’t deserve it.
Everything Now (Continued):
It’s just what it is, an outro with an easy-listening string section to close out the record. This track is nearly two minutes and thirty seconds longer than the intro.
Overall:
Hmmm, well, I did enjoy the record, but I prefer hearing the band live. Arcade Fire has it when they play live, but I need clarification on the studio-recorded material. It can be pretty condescending, sexist (Which is bizarre considering there is a lady in the band, and that’s Win’s wife Régine) and heavy-handed with subjects of suicide, cynicism and religion. But that is the world we live in, and we should respect Arcade Fire for not being fake and addressing such sobering issues. Like Muse, though, I feel that Arcade Fire save their best for the stage. It’s quite a shame, as I was looking forward to reviewing this record, but I have been disappointed. If I did live reviews, then Arcade Fire’s review would be stellar.
Honest Opinions 