You have to admire Phoebe Bridgers for trying something different on “Lost Weekend”: a departure from her usual indie-folk into a more atmospheric, ambient soundscape clearly inspired by Bon Iver. The songs are beautifully produced, wrapped in thought-provoking lyrics, and drenched in a dreamy feel. The best examples would be ‘Haunted’, ‘Bobby’, and ‘Still Standing’. Highlights also include ‘Lost Boys’ and ‘I Can’t Wait’.
The new sound may be interesting, but it tempers the album’s energy. The floating production complements the themes of grief and reflection, but the tracks’ space starts to blend too much, and the record feels more meditative than memorable. You won’t feel the energy of her earlier material, and more than likely feel a bit underwhelmed by “Lost Weekend”.
The album is dreamy, beautiful, and ambitious, and definitely a new beginning for Phoebe, but this record is far too quiet if you are looking for something more energetic. I have mixed feelings about whether I like it.
Song recommendations: ‘Still Standing’, ‘Haunted’, ‘I Can’t Wait’
The Reytons are brimming with confidence on “A Love Letter to a Broken Town…”. They haven’t changed their style since success; they have used it to give the fans what they want. The album is packed with catchy choruses, big riffs, and energy that will get the crowd going in any venue.
Of course, since they first broke through, they have been compared to fellow Yorkshire band Arctic Monkeys, especially when Jonny Yerrell sounds identical to a young Alex Turner, as I discovered from my previous review of the then-unsigned indie band. Unlike the Arctics though, they’re heavier and have a more powerful sound that sets them apart.
Let’s begin by looking at the opener ‘Jukebox’, which is full of nostalgia, working-class pride, and energy. ‘Busker’s Paradise’ tells a great story of a town fading away.
‘Hello, How Are You Today’ has strong energy, but is their most thought-provoking.
Those 3 tracks show the band’s progression, but they still stay true to themselves with their grit, humour, and honesty, which helped their popularity soar.
I loved the record’s consistency. It is hard to choose a favourite, but those 3 tracks I singled out are the best on there for me. However, every track brings value. Actually, I am going to add ‘Best Night of His Life’ because this is going to get the crowds going.
The energy seldom dips, so overall, it is an extremely pleasant listen from the outset. It underlines once more that guitar music is far from dead. The album has bite, heart, attitude, and a loud, guitar-driven edge. I can see it being nominated for the Mercury Prize next year.
Song recommendations: ‘Busker’s Paradise’, ‘Hello, How Are You Today’, ‘Best Night of His Life’
Songs that had potential were ruined by too much auto-tune, which diluted the emotion from the record.
Ariana has an amazing voice, but it is buried by Max Martin’s production, which is both distracting and artificial. I have to say, I am also disappointed with him.
Saying that, I believe these songs will work better live if the auto-tune is used sparingly or not at all. The music will have more space, letting Ariana’s vocals shine.
As for “Petal”, it’s utter auto-tune garbage. Don’t even bother listening.
“Music, Fashion, Film” took me by surprise. I was expecting the usual electronic-influenced sound from Charli XCX, but she tried a bold rock sound. It was very refreshing, despite the album being a bit hit-and-miss.
My recurring issue with her songs is the heavy use of auto-tune. Tracks like ‘2007’, ‘Wink Wink’, and ‘Persona’ are spoiled by it. They all had potential, too. As ‘Magic Metal Montana’. The drum intro reminded me of Blur’s ‘Song 2’, but then the pathetic auto-tune saturates it.
The highlight was ‘SS26 ’, a politically-charged track that captured the album’s energy and confidence. The others were ‘Camera’, ‘I’m Afraid’, ‘Yeah’, and Card Declined’. I’m pretty sure on the latter I heard a hidden track at 2:44.
The closer, ‘No One Lasts Forever’, is something that Phoenix might do, albeit not the melancholic, repeated spoken-word verse on the outro.
Another thing to admire is the artwork. It depicts 3 representatives from the record’s title: John Cale, Marc Jacobs, and Martin Scorsese. Despite the unnecessary use of auto-tune, I liked seeing Charli try something different and try out an in-your-face rock album.
Song recommendations: ‘SS26’, ‘No One Lasts Forever’, ‘Card Declined’
We are seeing Gracie Abrams further maturing as a songwriter with songs like ‘Hit the Wall’, ‘The Knife’, ‘Look at My Life’, ‘Good Reason’, and ‘Cold Goodbyes’. They have emotional depth and much sharper lyricism than on her previous album.
The National’s Aaron Dessner (yes, one of the twins) did all that was asked of him. His production blends with her record’s reflective nature.
I cannot fault Aaron Dessner and Dan Nigro’s production, but it’s just too safe.
The majority of the songs have that all-too-familiar muted, mid-tempo sound, which drags the album, and it lasts for almost an hour.
Her writing has further improved, but “Daughter from Hell” does not take any risks. Instead of capturing your ear and imagination, it acts as background music.
A well-made record, but far too often my concentration wandered. I hope next time she has some more bold ideas.
Song recommendations: ‘Hit the Wall’, ‘Cold Goodbyes’, ‘The Knife’
It is undeniable that Madonna has left a lasting impression on pop music. Since her pomp in the 80s, she has always adapted her image and style, changing the face of electronic music, dance-pop, and pop culture.
A career spanning over forty years has kept her in the limelight and flexible, which is why she is dubbed the “Queen of Pop”.
Now, after quite a lengthy wait, she has returned with the soundtrack to “Confessions II”, where she has returned to the dancefloor sound that made the first “Confessions on a Dance Floor” album a big hit, but with a more thoughtful feel.
The production is what shines the most this time. Stuart Price has done a wonderful job bringing bright electronic beats and big club rhythms to life on tracks like ‘I Feel So Free’, ‘Danceteria’, ‘One Step Away’, and my overall highlight ‘Love Sensation’. It has a catchy hook and uplifting production, making it a typical Madonna track. It isn’t up to much lyrically, but the production is enough.
The album focuses on style rather than substance. The music is absolutely brilliant, but the lyrical content is either minimal or repetitive.
Songs that had potential, like ‘Good for the Soul’, ‘Read My Lips’, ‘Everything’, ‘Love Without Words’, ‘Betrayal’, and ‘The Test ’, fell down due to the excessive use of autotune.
However, “Confessions II” may not be her best album, but it is uplifting and fun with plenty of club-influenced tracks.
The songwriting isn’t the best, but does it need to be? The record is all about uplifting production with dance beats, which more than makes up for it. If you are looking for thought-provoking lyricism, then this album isn’t for you. If you want to have fun and get lost in the music, then you are going to love this.
Song recommendations: ‘Love Sensation’, ‘Danceteria’, ‘I Feel So Free’
I cannot believe it! I actually like a Muse studio album! They have finally captured some of that explosive energy from their live shows in the studio. Something that has always been missing. Muse are fucking brilliant live, but their records always seem flat. This one finally has a live feel.
My ears pricked up from the intro of ‘The Dark Forest ’; you can feel that energy. ‘Cryogen’, ‘Hexagons’, and ‘The Sickness in You & I’ have that dramatic Muse sound with huge riffs.
‘Nightshift Superstar’ and ‘Unravelling’ bring something new to the table, with their groovy feel, but it’s still unmistakably Muse.
The album ends on a sci-fi vibe with ‘Space Debris’ and an emotional note.
What I fucking loved about the record was that the songs had that live energy. They are not suffocated by heavy production. They just let that raw, urgent energy that we experience live take the lead. Fucking at long last. The choruses are as usual stadium-ready, every riff has to be heard with an ever-increasing volume to hear them in all their glory. Those songs mentioned will be embraced by the fans on the tour.
This is one of their best records ever. They have finally realised they can capture a fair bit of their live magic in the studio. Whatever songs are picked for the tour will be absolutely amazing.
Song recommendations: ‘The Dark Forest’, ‘Nightshift Superstar’, ‘Hexagons’
This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.
The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.
I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.
I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.
I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.
Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’
Niall Horan’s ‘Dinner Party” was not about big pop hits, but rather the main theme of romance and home. It is calmer than “The Show”, but it shows a level of maturity and self-assurance.
The album begins strongly with ‘Tastes So Good’, which is energetic, and then the title track expresses how he met his significant other. The more laidback yet heartfelt tracks are ‘She Gets It from Her Mother’, ‘Better Man, and ‘Little More Time’, showing that Niall is now comfortable and sincere with his writing.
The only negative I could find was with ‘Monochromatic’, yes, it may match the record’s overall sound, but it lacks the emotional impact and is less catchy than the others. It simply blends into the background.
The album keeps up that warm fuzzy feeling into the second half with tracks ‘Flowers’, which is easy to enjoy, ‘Boys Are Fun’, which is playful, and ‘Pretty’, which stands out for its great guitar work. The record ends on the melancholic ‘End of an Era’, which was out of the blue.
It’s not his best work, but the writing is great and heartfelt, focusing on raw honesty rather than showboating. It may not be better than ‘The Show’, but it certainly grows on you, and the more you listen, the more beauty is revealed in the songs.
The songwriting is exceptional, and to be honest, I wasn’t expecting such a mature album.
Song recommendations: ‘Tastes So Good’, ‘Dinner Party’, ‘Pretty’
Paul McCartney isn’t aiming to change the music world at 83 on this album. “The Boys of Dungeon Lane” is purely about nostalgia, focusing on his childhood, old friends, and the places that had an impression on him. The record is melodic, warm, light, jaunty, and maintains Paul’s identity. It isn’t about trying to emulate albums such as “Band on the Run”; it’s more personal than anything he’s done in years.
As You Lie There :
The opener is a soft track inspired by a mysterious guitar chord that he discovered when working with Andrew Watt. It has a reflective yet dreamy feel that sets the mood for the album. If anything, it’s more thoughtful than a memorable opener.
Lost Horizon :
Unfortunately, it’s one of the weaker tracks. The melody is pleasant, though. It feels like this one was added in haste rather than completed.
Days We Left Behind :
An emotional ode to Liverpool. Paul visits the city, his childhood friends, and life before fame. The melody is quintessentially Paul: elegant, wistful, and instantly familiar.
Ripples in a Pond :
This feels like a lost Wings track. Subliminal arrangement, and charming, but it doesn’t make an impression on you.
Mountain Top :
An adventurous, playful, and psychedelic song that gives the album energy. A welcome surprise from Paul.
Down South :
An ode to the late George Harrison that doesn’t get too sentimental. The lyricism is about travelling down the M1, talking to George. A short one, but the lyrics tell a great story.
We Two:
This is an enigma. It could be Paul discussing friendship, love or maybe both. Simplistic songwriting, which Paul excels at.
Come Inside:
Another weak song. Lacking a strong hook.
Never Know :
An underrated song. The melody takes a few listens to get it. On that, it’ll grow on you.
Home to Us :
Paul teams up with his old pal and Beatle drummer Ringo Starr. I am convinced it is just one long chorus, but it’s warm and nostalgic nonetheless.
Life Can Be Hard:
One of the album’s more honest songs. Paul addresses life’s challenges and ageing without making it too grim.
First Star of the Night:
A wonderful ballad with the trademark McCartney melody reflecting his career in the 70s.
Salesman Saint :
A quirky, eccentric, playful, jazz-inspired track.
Momma Gets By :
Paul discusses family and resilience. It may be emotional but not too sentimental, and it doesn’t bring down your mood. Instead, you feel grateful.
Outro:
“The Boys of Dungeon Lane” is unapologetically nostalgic. Paul isn’t trying to do anything groundbreaking. He is just sharing his past with us. The songs, as I mentioned in the intro, are warm, light, and jaunty. If you want to find tracks with emotional weight, then I suggest ‘Days We Left Behind’, ‘Home to Us’, ‘Down South’, and ‘Momma Gets By’.
The theme and sound don’t matter a jot to his loyal fans, and that’s all that matters.
Song recommendations: ‘Days We Left Behind’, ‘As You Lie There’, ‘Never know’
Honest Opinions 