Conscious

Week 20: Michael Jackson- The Essential (European Edition)

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Before we explore “The Essential”, let us take a moment to remember why Michael was more than just a pop star. The guy revolutionised music videos into a cinematic experience; he blended pop with several genres, including rock, funk, soul, and dance. His songs are still played on radio stations, streamed,fill dance floors, and feature on playlists even now.

He began performing with his brothers in Jackson 5 before becoming the “King of Pop”. He then went on to create one of music’s most influential catalogues. His hits were not just merely popular; they became embedded in popular culture.

“The Essential”, released in 2005 and featuring his strongest collection of songs, has been reinvigorated by the recent biopic “Michael”. Indeed, looking at the charts, I can see several of his albums inside the top 20. This particular record covers all bases: the child prodigy, the disco innovator, global superstardom, and the artist who mixed real emotion with showmanship. As you will discover in the review that follows, the classic that stands above all for me is ‘Beat It’. A point that proves why Michael was unstoppable during his short but impactful life.


Disc One:

I Want You Back:

What a great beginning to the Michael Jackson story. Even as a kid, playing with his brothers in the Jackson 5, his vocals stood out. You still feel the energy after all these years.

ABC:

Not one of my favourites. I find it far too cheesy and lacking lyrically.

The Love You Save:

One of the Jackson 5’s unsung hits that deserves more attention. His vocal ability at such a young age is mind-blowing, backed up by a great groove.

Got to be There:

A softer and more emotional part of Michael’s vocal range. He delivers with conviction.

Rockin’ Robin:

A fun track, but again, too cheesy for me.

Ben:

Anyone remember this? I can honestly say I didn’t until I heard this compilation. An emotional and simple track with a surprising sense of maturity, and his vocals add tenderness.

Blame It on the Boogie:

Always loved this dance song since I was a youngster at birthday parties, including the dance moves. A track that never lets go of that uplifting tempo.

Shake Your Body (Down to the Ground):

More explosive disco energy, and another one I used to skank out to back in the day. This was the beginning of his superstardom.

Don’t Stop ’Til You Get Enough:

This was the moment when Michael stepped into his role as a solo icon. It has falsetto vocals, displays confidence, and has a sublime groove.

Rock with You:

A smooth song that is almost perfection. It just glides with ease from the outset.

Off the Wall:

It may sound sharp, but the production of the title track from that album is stylish and relaxed. It captured the wave of late-70s dance perfectly.

She’s Out of My Life:

One of his more vulnerable vocal performances. Instead of letting his vocals sound absolutely heartbreaking, he holds back a bit, which actually adds more emotion to the ballad.

Can You Feel It:

You may remember a late-90s dance track about what someone would like with a chimney on them? Well, this is the track that’s sampled. An uplifting, almost spiritual disco track that’s big and powerful.

The Girl Is Mine:

One of the underrated tracks on “Thriller”, but you can feel the chemistry between Michael and The Beatles legend Paul McCartney.

Billie Jean:

Another floor filler, and continues to be so. One of the best basslines in pop, accompanied by Michael’s hypnotic vocals.

Beat It:

I love this track. Always have. Therefore, it’s my favourite track from the collection. This is one of the greatest pop songs ever recorded, never mind being Michael’s best. I love how it effortlessly blends genres. You got the aggressiveness of rock over catchy pop.


From the intro, you can feel the tension building, and then the drums come crashing in with power. Michael’s vocals follow the energy of the instrumental. Every lyric lands, and the chorus explodes without warning.

Then we have an exemplary guitar solo by the late, great guitar icon Eddie Van Halen to bring even more joy to the listen. The solo is ferocious, taking the track beyond a generic pop song. Eddie may show off his skills, but it’s right for the track, rather than over the top.

‘Beat It” is just one of those timeless tracks compared to a lot of big hits from the 80s, which now sound dated. ‘Beat It’ still sounds fresh, powerful, and bursting with colour. I love the production, its non-stop rhythm, and of course, his vocals are just…brilliant.


This compilation may be packed with hits from every section of his life until the early 21st century, but ‘Beat It’ is beyond magical.

Wanna Be Startin’ Somethin:

A restless and energetic track that sounds alive.

Human Nature:

You may remember S.W.V sampled this for their single ‘Right Here’? Anyway, this beautiful track feels soft and dreamy while still carrying real emotional depth.

P.Y.T. (Pretty Young Thing):

A bright, playful and pure pop joy song that makes you want to dance.

Thriller:

What a great ending to disc one. The ultimate party song that still sounds huge.

Disc Two:

Bad:

Michael’s confidence and attitude bring colour to the track.

I Just Can’t Stop Loving You:

A tender track, which focuses on Michael’s vocals and melody.

Leave Me Alone:

One for the lyricists.

The Way You Make Me Feel:

A warm, energetic, and easy listening track.

Man in the Mirror:

An emotional track that builds with sheer power, and Michael’s formidable vocal performance.

Dirty Diana:

This track is dark, tense, with a good rock edge and, of course, Michael’s vocal intensity.

Another Part of Me:

Upbeat, lively, and stadium-ready.

Smooth Criminal:

The sounds all fit perfectly. Definitely one of the best-produced pop songs.

Black or White:

A political track, but it isn’t in-your-face and a great guitar riff over a pure energetic production.

Heal the World:

Sincere and honest lyricism with a big sound.

Remember the Time:

A flawless groove that’s often overlooked from his catalogue. You can feel the early 90s all over it.

In the Closet:

Mysterious and hypnotic.

Who Is It:

I love the bassline over the dark and emotional track.

Will You Be There:

A huge emotional impact track that feels big and cinematic.

You Are Not Alone:

Always been a fan of this one since 1995. I still own the cassette of this emotional ballad. Michael captures the mood perfectly with fragile vocals.

Earth Song:

Another track that feels dramatic and cinematic with Michael’s fragile and then powerful vocals.

Blood on the Dance Floor:

Aggressive, sharp and full of nervous energy. Not a bad choice to end the album.

Coda:

I decided to review the European edition, because it’s the version that’s widely available this side of the world. What is great about “The Essential” is that it covers all the stages of Michael’s career, from being a child in the Jackson 5 to a disco star, pop innovator, and international icon.

Do not get me wrong, there are a fuck tonne of classics across both sections, but ‘Beat It’ remains my favourite, you know, the way it blends rock, pop, Eddie’s mesmerising guitar solo, and Michael’s vocals bouncing with the tempo. I always look forward to hearing it.

Song recommendations: ‘Beat It’, ‘Blame It on the Boogie, ‘You Are Not Alone’


9/10

Week 19: Noah Kahan- The Great Divide

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I was quite a fan of “Stick Season”, released four years ago, so I was naturally looking to “The Great Divide”, but unfortunately, it is a laborious listen that depends on mood and consistency, which does not work in the album’s favour. The opener is ‘End of August’, followed by ‘Doors’, which sets a reflective tone for the rest of the record. ‘American Cars’ and ‘Downfall’ keep the tone, but do not deviate much from the album’s tempo. There are a few times that the sound is like The War on Drugs, but a tamer version of the psychedelic shoegaze band.

Of course, that does not mean the record lacks highlights. Indeed, there are a few, starting with the title track, which has a stronger emotional build, and ‘Dashboard’ has some much-needed energy. Noah, maybe, should have done more of those songs because they have a bigger, more dynamic sound.

The middle section is where the problems with the album are most evident. ‘23’, ‘Porch Light’ and ‘Deny Deny Deny’ all sound the same regarding emotion, instruments, and tempo. Although the lyricism is deeply personal, the album drags due to a lack of variety.

As the record closes out with ‘We Go Way Back’, ‘Spolied’, ‘All Them Horses’, and ‘Dan’, the running theme is still present, but there is not much change since the first listen. The album may be held together by emotional consistency, but it makes your attention waver because it all sounds the same.

The record is deeply personal with some strong tracks, but the steady pace and overall listening time makes it drag, and you feel fatigued as you reach the halfway point. Rather than an exciting journey, it just feels laborious. Very disappointed. One for the live audience to listen to rather than get them lively.

Song recommendations: ‘The Great Divide’, ‘Dashboard’

6/10

Week 18: Skindred- You Got This

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Yes! What a fucking victory for music. Skindred reached No.1 with “You Got This”, an album that defines them over more than 2 decades. Groove, swagger, and pure energy. It’s colourful, loud, and full of attitude. Frontman Benji Webbe displays his charisma on every track.

Anyway. Let’s begin with a brief of the band from Newport, Cymru.  They’re known for combining metal, reggae, punk, and electronic influences, earning them the “ragga metal” moniker. They formed in the late 90s and have since built a reputation for high-energy music, blending heavy riffs, rhythmic groove, and socially conscious lyrics.

Their frontman, Benji Webbe, is the engine that drives them with his larger-than-life presence and versatile vocals. He shifts from singing, shouting, and dancehall-style toasting with consummate ease, which gives the band its distinctive edge.

“Babylon” was their breakthrough album, before they later gained mainstream success with “Kill the Power” and “Smile”. Outside of the studio, they’re known for their memorable live shows, where raw energy and crowd interaction collide.

That’s the introduction over; let’s return to the review.

The mood is set from the start with the opening title track, with its big, anthemic sound. The song conveys a message of resilience, driven by heavy riffs, explores real-life struggles, and offers encouragement.

The mix of toughness and positivity drives the record on, giving it a motivational vibe.

Catchy hooks and strong rhythms, ready for their live shows, featured heavily on ‘Can I Get A’  and ‘This is the Sound’. Their full mix signature sound, consisting of metal, reggae, and punk, is on full display, transitioning smoothly from heavy riff and dancehall grooves. It certainly makes you want to bounce along to the beat.

I have always loved the band’s raw attitude, and that stands out on ‘Born fe Dis’ and ‘Do It Like This’. They are cocksure and confident, reaffirming the band’s identity.

The album isn’t just frenetic; there are slow moments with the ska- and dub-inspired ‘Broke’ and ‘Glass’. The band still maintains its edge. The underlying grit is still present, so you know it’s Skindred.

Benji Webbe always bring the grit. His delivery features catchy melodies, fast toasting, and powerful shouting, keeping the listener on their toes. Benji isn’t just performing the tracks; he is taking control.

His presence alone gives the record its heartbeat. Songwriting may feel familiar, but his energy keeps everything urgent and lively.

As the album winds down, ‘Big ‘Em Up’, ‘My People’, and ‘Give Thanks’ bring unity and celebration into focus, highlighting the band’s connection and positive message. Tracks designed to be shouted out, with a crowd, and enjoyed together.

The only minor downside is the record’s repetitive nature. If you can even find fault with it.

Skindred know their sound and stick to what they do best, so some songs might feel like they’re initially blended together. However, that familiarity makes them appealing. You come for it, and they always deliver.

Ring Out:

“You Got This” displays Skindred at their best: energetic, blending genres, and raw emotion fused with passion. It doesn’t reinvent the wheel, and doesn’t need to.

Benji Webbe makes the album an enjoyable listen alongside the band’s raw, infectious attitude. One to be enjoyed whether in a mosh pit, at a festival/concert, or at home with the volume on full.

Song recommendations: ‘Born fe Dis’, ‘Do It Like This’, ‘You Got This’

9/10

Week 16: Dermot Kennedy- The Weight of the Woods

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“The Weight of the Woods” is the third studio album by Dermot Kennedy, which focuses on nature imagery and true emotion and is extremely personal, foretelling what he’s observed and his own life. The record is an emotional journey that is thoughtful, delicate, occasionally heavy, yet always sprinkled with joy.


Now, let’s take a look at how the sound and atmosphere stack up:

Although the sound is simple, you are drawn in. Gabe Simon’s delicate production, which mainly focuses on acoustic instruments, gives the songs space to breathe rather than opting for big effects. The music follows the album’s title. It gives off a calm woodland vibe. That soundscape gives the impression that the tracks were recorded al fresco rather than in a studio. The opening track is a reprise of the title track, which is a strange way to start a record. Reprises are usually featured towards the end of an album.


What about Dermot’s vocals?

His voice is ,of course, the heart of the record. We hear that urgency and raw emotion, which sometimes sounds like his voice is breaking under the sheer force of his delivery. He switched up when necessary, from quiet, personal moments to intense, powerful ones, regardless of the lyric’s importance.

What are the subjects and lyricism on display?

Well, the record is predominantly about Irish landscapes, grief, reflection, and emotional endurance. Love is utilised as both refuge and weight. He addresses personal growth and identity. Naturally, songs like ‘Funeral’ and ‘Blue Eyes’ focus on dealing with loss and learning to heal, whereas other tracks address more thoughtful and quieter moments.

What are the standout tracks?

Honest: The most emotional song on the entire album. Here, Dermot adopts an urgent yet vulnerable tone as if he is sharing a confession.

Refuge: This is like a personal yet tender lullaby. It expresses that even in the midst of chaos, love is a safe place.

Funeral: A track that I mentioned earlier is heavy on emotion. The production synchronises with the subject of confronting grief.

Endless: Another track you may have heard before the album’s release( the other being the aforementioned) is extremely haunting, exploring everlasting pain and unresolved feelings.

Sycamore: This track explores real places in Kennedy’s life. The closest track tied to his identity and home.

The Only Time I Prayed: A song of familiarity to Kennedy’s earlier work, displaying spiritual reflection and personal storytelling. The penultimate track is bittersweet, reflective, yet quietly devastating.

The Weight of the Woods: The opener was the title track reprise, and the closer is the title track in its entirety, highlighting the record’s key theme of emotional burden and growth.

Strengths:

Strong thematic connections interwining nature and emotion.
Vocals are powerful and vulnerable.
Consistent and immersive atmosphere.
Personal and thought-provoking lyricism based on real experiences.

Weaknesses:

The tempo lacks variation.
Some tracks sound the same.

Coda:

We won’t find many chart-friendly tracks on “The Weight of the Woods”. To be honest, Dermo has never been about that. He likes to draw the listener in with sobering lyricism over melancholic sounds, and once again, he focuses on raw emotion. This album is more about the journey than picking out anthemic songs. It may be deeply human, but there are glimpses of hope. It may well be yet another very sobering record from Kennedy, but there is beauty in melancholy.

Song recommendations: ‘Sycamore’, ‘Endless’, ‘The Only Time I Prayed’


8/10

Week 15: RAYE- This Music May Contain Hope.

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I am beyond delighted that RAYE finally has a number one album, after her debut was criminally robbed by a pile of shite. No one on this earth deserves it more than her. She was cast aside by her label as a solo artist and writer. They wanted her to just collaborate and write for other artists, which she felt hindered her creative spirit. It would take a decade before she finally broke free from her label, went independent and released her debut to much praise. She is known for blending pop. R&B, jazz, and soul with unfiltered conscious lyricism, which is occasionally delivered with an operatic vocal. Her debut, “My 21st Century Blues”, showcased her vocal range and exemplary storytelling. Just a few songs featured on Later… with Jools Holland proved that the record would be excellent.

Now, she is back with her sophomore album, “This Music May Contain Hope”, where she dives further into her creative freedom- long-term songwriting, more experimental, more emotional, and embracing theatrical arrangements. You know what? Fuck it. I’ll tell you right now that this album is fucking brilliant. More than a worthy successor of “My 21st Century Blues”. Right, let us get on with the review. I have chosen a track-by-track analysis because I feel that it is fitting for the album.

Girl Under Grey Cloud:

The opener sets the mood. RAYE adopts a spoken word approach over atmosphere. It highlights the album’s central theme: the sadness is romantic and cinematic. You can hear the “musical theatre” element so often discussed by critics.

I Will Overcome:

The first statement song on the record. Big vocals and self-mythology over gospel sounds. RAYE makes you believe every lyric uttered. Showing despite some pain still remaining, she is resilient.

Beware.. The South London Lover Boy:

Quintessentially a London-based humour track, sharp and witty. She uses this London humour to cut through the heartbreak, which recurs throughout the album. This track shows her true personality.

The WhatsApp Shakespeare:

A track with clever, modern and playful lyricism that turns digital-age romance into something poetic. It highlights her inventiveness.

Winter Woman:

The title is apt to the track’s mood because it is colder, reflecting emotional distance and numbness. The production is therefore minimal, giving the record its first real moment of introspection.

Click Clack Symphony. (feat. Hans Zimmer):

I wanted to enjoy this track because the great film-score legend Hans Zimmer features, but unfortunately, it leans too heavily on auto-tune, which is an instant skip for me.

I Know You’re Hurting:

This track reflects the emotional core of the album. This stripped-back ballad stands out from the record’s theatrical style. It feels raw, but she does not overcook it.

Life Boat:

A turning point on the album. There is more rhythm and energy. The lyricism focuses on survival and transitions into the next phase of the record, moving away from the emotional fog so far. I will go into that more in the outro.

I Hate The Way I Look Today:

This song is about insecurity, vulnerability, and self-image shrouded in a slightly whimsical arrangement. It balances the heavy subjects with charm, which RAYE is a master at.

Goodbye Henry. (feat. Al Green):

Retro soul duet with the great Reverend Al Green. Now, I am not entirely sure if he joined RAYE in the studio or if his vocals are sampled from one of his many classics. Anyway, the track is warm and tender with minimal drama compared to the tracks on the first half of the album. She is starting to show acceptance.

Nightingale Lane.:

This melodic track foretells RAYE’s first encounter with love in the South London street. It shows off her artistic talent. One of the highlights from the record.

Skin & Bones:

The production gives way to a lyrically emotional song. One for the poets and wordsmiths.

WHERE IS MY HUSBAND!:

Everyone knows this. It has been played to death since its release late last year. It is funny, catchy, and dramatic while balancing satire and sincerity. It is also full of brass to add to the effect, and you all thought RAYE is that voice that says “Your husband is coming” before the outro, well, you would be wrong, it is her grandma. Don’t they sound very alike? I do like this track, but it’s not my favourite.

Fields. (feat. Grandad Michael):

Here we go, the pointless interlude. The deeply personal moment features her family, which ties into the album’s theme.

Joy. (feat. Absolutely, Amma):

The featured artists are not only part of RAYE’s backing group but also very dear friends. The mood shifts into something quite celebratory, yet still feels grounded. You can hear that the second part of the record is more upbeat.

Happier Times Ahead.:

A track addressing resolution. It may not display pure happiness, but it contains belief. I would also describe it as optimistic.

Fin.:

Hahahaha, this final song made me laugh. RAYE reels off all the people behind the album for over five minutes. There is no need to read the sleeve notes, because she has already done so for you. A quirky but humorous way to close an album.

Outro:

As I mentioned earlier, about the album’s structure. The first half is winter, with the more deeply emotional tracks, and the second half is summer, where moments of optimism and joy soften the mood. “This Music May Contain Hope.” shows how ambitious RAYE is, and that’s intended. The album isn’t about giving the listener an easy listen, but about songs that start instantly, feature spoken-word moments, and shift genres.

Of course, RAYE may be a bit self-indulgent at times, but give her a break. She has been through an awful lot to even have an album, let alone her second. The pacing may sometimes feel heavy and the theatrical style a bit much, but tracks like ‘Nightingale Lane’, ‘WHERE IS MY HUSBAND! and ‘I Know You’re Hurting.’ are marvellous.

What I have always loved about RAYE is that she is unapologetic. Absolutely refreshing in an industry full of knee benders. She is funny, dramatic, heartbroken, and defiant. A Beautiful album. Two records in, and she is just blowing the competition away. Hopefully, the third will see her keep the momentum.

Song recommendations: ‘Nightingale Lane.’, ‘WHERE IS MY HUSBAND!’, ‘Beware…The South London Lover Boy’

9/10

Week 14: Bangtan Boys aka Bangtan Sonyeondan aka BTS: Arirang

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Unfortunately, “Arirang” falls flat on its arse compared to BTS’s previous effort. This is just extremely overproduced.

‘Body to Body’’is lifeless and buried under layers of vocal effects, while trying to set the mood with a traditional sample. ‘Hooligan’ is flat because the gritty sound and edge is lost to a synthetic finish. ‘Aliens’ and ‘FYA’ are too polished, so they don’t stand out. Oh, and they’re also victims of auto-tune.

‘SWIM’, which is supposed to be the standout track, may be catchy, but it feels hollow. By the time you get to ‘Into the Sun’, the experience has been ruined by the vocal effects, and that is the central issue with the entire record.

“Arirang” had great potential, with personal and emotional stories, but alas, they’re lost in the excess use of auto-tune. Everyone loves their humanity, and that’s what made them so popular. This is a huge step backwards. Utterly unlistenable thanks to auto-tune.

No rating

Week 11: Harry Styles- Kiss All the Time. Disco, Occasionally

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I was thrilled to listen to “Kiss All the Time. Disco, Occasionally”, as I was expecting to enjoy it after his previous album “, Harry’s House”. An album which was fresh, confident, with plenty of memorable songs, and showed forward progression. Unfortunately, this one didn’t capitalise on that forward progression.

I think it was great that Harry collaborated with Wolf Alice leader Ellie Rowsell, but after each track, the energy faded. Even the disco-inspired ‘American Girls’, and ‘Ready,Steady, Go!’ were repetitive and labourous.

Even the emotional tracks like ‘Coming Up Roses’, and ‘Paint by Numbers’ felt more like fillers than highlights.

What is disappointing is that the record lacks the flow and charm that gave ‘Harry’s House’ accolades galore. There are no standouts or big hooks. The songs are just simply there.

Even the closer ‘Carla’s Song’ gives the album a disappointing finish. I was left wondering what happened to all the energy, big hooks, and forward progression that were in “Harry’s House”. Unfortunately, this album is forgettable and unfocused. Very underwhelming from a lad who knows how to make good records.

No rating

Week 10: Gorillaz- The Mountain

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The band that keeps reinventing itself returns with “The Mountain,” an album that draws on global influences and feels reflective yet adventurous.

The record may have been recorded in Devon and Damon Albarn’s home Studio 13 in London, but the songs are in Spanish, Arabic, Hindi, Yoruba, and Russian. It is quite Middle Eastern-heavy, with sounds blended with synth-pop and psychedelia across several word music genres. It is certainly their most eclectic album to date.

The record features the title track, with a spoken-word passage by the late Dennis Hopper over Anoushka Shankar’s sitar (Yes, she is, before you ask), and an orchestral flourish that gives it an atmospheric, spiritual feel. It sets the tone for the rest of the journey within.

One of the highlights is ‘The Moon Cave’ featuring an array of artists, including the late Bobby Womack, and the underrated rapper from The Roots, Black Thought. There is a combination of atmospheric beats and haunting vocals enshrined in layered instrumentation.

The following track,’The Happy Dictator’ with the Mael brothers duo, Sparks, contains witty political satire and theatrical pop. Reminiscent of the band’s earlier days that echo the sentiments of ‘Clint Eastwood’ and ‘Feel Good Inc’.

Tracks like ‘Orange County and ‘The Empty Dream Machine’, on the midsection, focus on collaborations, with the former featuring Bizarrap and Kara Jackson, the latter has Black Thought and Johnny Marr, who features just behind Anoushka (she is present throughout). The merge of dreamy synths and global instrumentation over rapped verse, and the unmistakable guitar playing of Johnny.

As the record starts to wind down, tracks like ‘The Shadowy Light’ featuring Super Furry Animals frontman Gruff Rhys, and ’The Sad God’ are more reflective. Melody and layered instrumentation are the focus, bringing an emotional close.

I found that “The Mountain” was heavily inspired by the Middle East, but Gorillaz have never been ones to shy away from using global sounds and collaboration to enhance their music. Some tracks may seem drawn out, but the payoff is worth it for their beauty and experimentation. It may not be the best body of work, but it is their most adventurous and culturally rich. I enjoyed Anoushka’s effortless playing, Black Thought’s thought-provoking lyricism, and Johnny’s jangly tones, arpeggiated chords, and melodic progressions.

Song recommendations: ’The Empty Dream Machine’, ’The Moon Cave’, ‘The Happy Dictator’

8/10

Week 5: Louis Tomlinson- How Did I Get Here?

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“How Did I Get Here?” is the third solo album by Louis Tomlinson. It features upbeat anthems and is thought-provoking. It further shows how he has evolved from his days in One Direction with meaningful lyricism and catchy songs.

Let’s now address some of the key tracks:

Lemonade:

Well, if you have not heard this, where have you been? It’s been played heavily across the airwaves. The opener features groove-heavy guitars and an upbeat, summer-vibe melody over breezy pop.

Palaces:

My absolute standout on the record. It’s packed with indie-rock energy, with reflective lyrics that address fame and relationships. You can tell how much indie influences his sound.

Dark Light:

The most emotional track on the album. This acoustic ballad discusses vulnerability, grief and loss.

Imposter:

This one reminded me of Empire of the Sun’s music. It addresses self-doubt and identity over atmospheric soundscapes and pulsating bass.

Sunflowers & Lazy (Two tracks):

Upon hearing these, I had to check to see who the producer was, because I was sure it was Tame Impala’s Kevin Parker. It wasn’t, but they had that bright psychedelic rock feel synonymous with Tame Impala.

Lucid:

The album closes with a gentle yet melancholic soundscape that ties back to the record’s title theme.


I prefer “How Did I Get Here” to his previous album. It shows another confident step forward, with its craft, varied emotions, new soundscapes, and meaningful lyricism. I didn’t see much mainstream pop on display, but indie rock, lo-fi, and psychedelia. Tracks like ‘Palaces’ show that he’s starting to settle as a solo artist. The album is a fine balance of uplifting and reflective tracks that keep the listener interested.

Song recommendations: ‘Palaces’, ’Sunflowers’, ‘Lucid’

8/10

Week 4: Robbie Williams- Britpop

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A track-by-track review with a bonus track thrown in:

Rocket (feat. Tony Iommi):

This punchy, guitar-driven opener is the leading single featuring ex-Black Sabbath lead guitarist Tony Iommi. The track reminds me of Joan Jett and the Blackhearts tracks. It’s raw, full of rock attitude, and has anthemic energy. Tony’s solo is the standout moment.

Spies:

The song has a jangly guitar and is mid-tempo Britpop with nostalgic chords.

Pretty Face:

Didn’t like it. Too poppy for me.

Bite Your Tongue:

An alternative rock track with spoken word.  It may feel odd, but it is playful, adding something different to the album.

Cocky:

Stomping glam-rock energy that’s fun with plenty of swagger.

All My Life:

An Oasis-inspired reflective ballad discussing dreams. Providing one of the  more emotional moments on the record.

Human (feat. Jesse & Joy):

Another reflective ballad.

Morrissey:

Co-written with Take That’s Gary Barlow, this tongue-in-cheek track is about Morrissey’s legacy. It’ll certainly divide opinion. The lyrics also might suggest he’s playing the role of someone in love with
the former Smiths frontman.

You:


Same attributes as ‘Bite Your Tongue’.

It’s OK Until the Drugs Stop Working:

I loved this track, and it certainly provided something different. This reflective, self-aware addressing of his past is Divine Comedy-esque.

Pocket Rocket:

An ethereal and dreamy closer of the standard edition.

G.E.M.B:

I included this track from the deluxe edition because it is my favourite. Robbie’s bold, tongue-in-cheek energy is captured perfectly over sublime indie rock, with his cocksure lyricism. It’s fun, bold, and catchy.

Coda:

“Britpop” is not about reinventing the wheel. It’s Robbie showing off to a sound he loved during the 90s, and that influenced him. The record is catchy, energetic, and fun, with songs that’ll become anthems. The lyricism may divide opinion, but this is one of his best albums to date. The title does what it says on the tin.

Song recommendations: ‘G.E.M.B.’, ‘It’s OK Until the Drugs Stop Working’, ‘Cocky’

8/10