Conscious

Week 24: Pulp- More

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Before their stroke of fortune of being bumped up to Glastonbury headliners in 1995, and of course, the success of ‘Common People, Pulp had been plying their trade for over a decade with little success. However, their rise from playing pokey venues in Sheffield to performing in stadiums, and of course, being on the iconic 1996 Knebworth Oasis gigs, shows that with a little patience, you can get to where you want to be. The band finally found their home in the 90s, thanks largely to their counterparts Oasis making indie rock cool again. Jarvis was seen as an elder statesman of the scene despite still being relatively young in his early 30s. The band emerged from post-punk in the 1970s and began with a teenage Jarvis Cocker inspired by David Bowie, and Roxy Music formed the band in 1978 using the original name Arabicus Pulp. The band flirted with various sounds and had frequent lineup changes while trying to search for their identity that began to take shape in the late 80s.


Before the hedonistic days of the 90s, the band, despite their indie status, had a strong connection with their fanbase, which remained small but loyal. They released several singles and albums that explored themes such as adolescence, boredom, and sex, all tinged with melancholy. Interestingly, tracks like ‘Babies’, now a regular feature in their setlists, were born during this period, showcasing frontman Jarvis Cocker’s storytelling talent, lyrical prowess, and knack for crafting a hit that vividly depicts life in Sheffield and his time at St Martin’s College in London, where the iconic ‘Common People’ story began.


Then came the breakthrough years in the 1990s. Jarvis had changed the lineup during the mid-80s and brought guitarist Russell Senior, keyboardist Candida Doyle, drummer Nick Banks, and the late bassist Steve Mackey. Pulp finally found their wall of sound that would bear fruit in the following decade. That sound would include glam rock, art-pop, and lyrical storytelling, all delivered with charisma by frontman Jarvis Cocker, the band’s founder in 1978.


The band’s 1992 single, ‘O.U.’, marked the beginning of their success and appealed to a broader audience. This success paved the way for their 1994 album “His n Hers”, a collection of songs that featured relatable storytelling. Popular songs such as ‘Do You Remember the First Time?’ let the audience feel a personal connection to the band’s music. This is where frontman Jarvis, a witty storyteller, arrived, further enhancing the emotional connection between the band and their fans.
“Different Class” followed a year later, and this is when things really took off for the band. ‘Common People’, which had a dig at the class divide, was fast becoming a frequently played song and evolving into an anthem for the band. ‘Disco 2000’ and the controversial ’Sorted for E’s & Wizz’ showed Jarvis’ witty and comedic storytelling over unforgettable melodies. The album would beat Oasis, among others, for the Mercury Prize in September 1996. It is also worth noting that their fan club president, Mark Webber, joined them as a guitarist/keyboardist in 1995 when they commenced recording the now legendary record.


Guitarist Richard Hawley became a touring member in the late 90s and early 2000s. The band appealed more to the misfits and quiet ones compared to the brashness and laddishness of the Oasis fanbase.


If you are new to Pulp, I would start with the iconic “Different Class”, but after, give “His n Hers” a listen to experience Jarvis’s lyricism with the band’s raw energy. You will realise why Pulp, even during their hibernation, has always been relevant in music conversations. Jarvis’ lyricism is like the poetry of everyday life accompanied by instrumentation. It also shows why they are still adored internationally—enough of the introduction. Yes, I could have mentioned the indie rock departure of “This is Hardcore”, but I was in danger of boring you. So, let us move on to the long-awaited record.


Pulp has finally completed its eighth album after a gap of twenty-four years between 2001’s “We Love Life” and now. It is also, sadly, the first record without their bassist, Steve Mackey. Although “More” addresses middle age daily life, compared to their iconic 1995 album “Different Class”, Pulp has not lost the magic that made them so popular in the 1990s.


From wanting to be noticed in their heyday, this album is more based on nostalgia than in the future. There are two tracks where enigmatic characters appear in ’Tina’ and ‘Grown Ups’ who seem to be individuals from Jarvis’ past.


Do not be fooled by the notion you are just listening to songs because with Pulp, it is more than merely instrumentation with nonsensical lyricism. The songs have always been poetic lyricism, and this record is no different. The tracks all formulate a meaningful story; sometimes, Jarvis delivers these in spoken word. Be it through the interludes or breakdowns during the tracks. Pulp is not aiming for chart success with “More” but is looking to structure the songs however they see fit while keeping the listener interested with the storytelling over various genres. This is not your typical pop-friendly album.


Despite not aiming for chart success, the band maintains a unique and unmistakable identity firmly embedded in their record. Each element contributes to the band’s distinct style, from Nick Banks’ driving drums to Mark Webber and Candida Doyle’s elan and Jarvis Cocker’s exemplary storytelling and witty lyricism. The band’s dynamic combination of these factors, however, is what truly excites and engages the audience.


The album explores several phases of human emotion. ‘Got to Have Love’ is what I would describe as a Smiths/Oasis/Killers song laced with melancholy over uplifting instrumentation. In this case, it is more indie-disco, like a fair few of their hits were in those heady days. ‘Farmers Market’ swings the mood with a romantic story encased by a piano and violins to bring it to life.


’Spike Island’ opens the record with a short, amusing story, setting a feel-good tone. ‘Hymn of the North’, the penultimate track, is a heartfelt tribute to their beloved Sheffield. The closer ‘A Sunset’ wraps up the album on a note of tranquillity, leaving you calm. Unfortunately, I haven’t had the chance to listen to the bonus track ‘Open Strings’ to see how it might alter the album’s ending. The verses in ‘A Sunset’ resemble the late Johnny Cash’s rendition of ‘Hurt’. Whether this was a deliberate homage from Jarvis or a happy coincidence, I can’t say.


“More”, for me, has something for everyone. It is not based in one genre. The lyricism and storytelling are outstanding, and I am excited about what comes next because it was worth the twenty-four-year wait. Despite the tragic loss of Steve Mackey, the band has not lost their touch, aided by their old friend Richard Hawley. Pulp is in rude health, and the impending tour will be fantastic. The magic is still there; they deserved to be at the top of the chart. Form is temporary, but class never fades.


Song recommendations: ‘Farmers Market’, ‘Hymn of the North’. ‘Got to Have Love’


9/10

Week 21: Morgan Wallen- I’m the Problem

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If this is a long review, I will be surprised. Morgan Wallen has a great voice and tells some great stories within his songs. Unfortunately, he excessively uses autotune, stripping away the excellence in his strengths.


His earlier material showcased his raw and emotional grit, which is now overshadowed by vocals that sound processed and manufactured. Therefore, “I’m the Problem” sounds generic and sacrifices his distinctive vocals.


I do not understand why an artist with great vocals would want it watered down for that particular piece of software. It’s such a shame because when I came across his early material, I liked it. Before then, I had only heard a handful of songs littered with autotune.


Excessive use spoils the 40-track album, and therefore, any authenticity and emotional connection is lost. I hated listening to the record, and he is mugging his fans off by not letting his natural vocals take centre stage to go with his great storytelling.

I heard a rumour that the label is advising him to use autotune because it is trendy. In my honest opinion, he should show a backbone and tell them he wants to do music that gained him an early fanbase. I saw a quote saying, “All those hating on “I’m the Problem” will be slapping it in the summer.” No, no, I will not. It’s fucking awful. I will never listen to it ever again, and I am pleased by that prospect.


No rating

Week 20: Sleep Token- Even in Arcadia

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Just like Slipknot, Sleep Token’s gimmick is also donning masks. A few years ago, they exploded into the commercial arena with a unique blend of genres and an enigmatic persona shrouded in mystery that has garnered a dedicated fanbase. Their previous album was “Take Me Back to Eden”, released in 2023, where the band’s music became a bit like Marmite. I shouldn’t have to explain the meaning behind that phrase, so I won’t.


As I embarked on this review, I must confess that my knowledge of the band (or, should I say, duo) was limited. However, I was genuinely impressed after being advised to listen to their previous record. Unfortunately, “Even in Arcadia” does not live up to their earlier work. The album seems to lack a clear vision, resulting in a collection of songs that feel disjointed and lacking continuity.

Yes, I know the London duo are trying a different direction, but they were hesitant to do it. The record leans into more pop, and they do not appear comfortable with it. They occasionally tread familiar ground with rock and metal while flirting with new sounds. ‘Gethsemane’ has riffs that we haven’t heard from them before, and the heavy tracks are all too often fleeting moments. Regarding their use of pop, for example, the title track features no guitars but instead goes more orchestral. The band/duo is synonymous with the guitar, so it was a surprise that they elected to have none. I suppose they wanted to appeal to a broader, more commercial audience, so they felt it was necessary.

Despite all that, I remain impressed by II’s drumming, one of the album’s highlights. Especially when you listen to their leading single ‘Emergence’. It has a syncopated yet complex drumbeat, which is always a joy to listen to because it shows II’s skill.


Their formula is certainly weakened the further you get into “Even in Arcadia”. Their music is usually heavy, and is more restrained on this album, with Vessel’s vocals having a repetitve cadence in the trap sections. The lowest point of the record is ‘Caramel’; it is simply a mediocre pop track that rescues itself at the end with a heavy breakdown, a section where the music becomes more intense and powerful, but apart from that, it is a jarring listen. ‘Infinite Bath’, which closes the record, also adopts this approach but is only slightly better. The album itself is mediocre and lacks the energy they are usually known for.


Now, let us address why the record is a flop: the lyricism. It is basic rhubarb and custard rhyming. This is the kind of lyricism you use when beginning your journey as a lyricist. Not when you are relatively deep in your career. Honestly, I wondered if Vessel had writer’s block and just went, “Fuck it. That’ll do.”


“Even in Arcadia” is a flop, with its poor lyricism and scattergun production. The high points are momentary compared to the low ones, highlighting their flaws. However, this disappointment is not the end. There’s room for growth and improvement, and I believe the songs will stand up better onstage than in the studio. Live performances often bring out the best in music. Studio recordings can be too polished and lack that raw energy. I still believe this little bump in the road will not harm their trajectory, but I expect much better next time. ‘Emergence’ is the only highlight from a very mediocre album.


Song recommendations: ‘Emergence’

1/10

Week 19: Pink Floyd: at Pompeii MCMLXXII 2025 Edition

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I must confess that due to the band’s rich history, it is difficult to write a brief introduction to Pink Floyd. So strap yourselves in because this is going to be a long one before I finally get to the review.


When you think of Pink Floyd, you think of more than psychedelia and progressive rock, deep lyricism, and sonic innovation. You think of extravagant light shows, brilliant cover art, and far-out films. Despite the band being currently dormant, their music still resonates to the present day.


Pink Floyd’s journey begins in the swinging 60s(1965 to be precise)in London, with the original members consisting of the late Syd Barrett, Nick Mason, Roger Waters, and the late Richard Wright. The band’s sound was a product of the psychedelic experimental era, with Syd’s whimsical lyricism capturing the essence of the time. The perfect example of this influence was ‘Arnold Layne’ and ’See Emily Play. The band was already setting itself apart from anyone else, creating a deeply nostalgic sound of the 60s era.


Of course, as most bands will experience, they were faced with adversity when their chief songwriter, Syd Barrett, who had his demons, departed in 1968. However, his departure became a key moment in the band’s wall of sound that would follow. David Gilmour would be recruited, and his blues-inspired guitar work and soulful vocals would send the band on a more progressive rock trajectory, and the songwriting would also become structured.


The band’s best period would be the 1970s, with a string of iconic albums, such as the masterpiece “The Dark Side of the Moon”, which fearlessly addressed subjects such as madness, greed, and mortality. The thought-provoking lyricism, soulful vocals and ambient soundscapes hooked listeners in, and it is not hard to see why it became a best-selling album. This was followed by “Wish You Were Here”, a tribute to the departed Syd Barrett and a critique of the music industry. “Animals” was next. A record inspired by the late George Orwell’s Animal Farm novella, with the band becoming more political. Each album showed the band’s courage in addressing more complex and controversial themes.


The final album released from this period would be 1979’s “The Wall”, a rock opera thought up by Roger Waters that explored controversial themes like dictatorship. The record would be a stage show, and a film that featured Boomtown Rats’ frontman Bob Geldof taking the lead. It showed that the band were more than just music.


The band would face more adversity when the late Richard Wright departed, and Waters would be embroiled in a legal battle with the remaining members. Even though the band appeared to be in turmoil, Gilmour would become the leader for 1987’s “A Momentary Lapse of Reason” and 1994’s “The Division Bell” Waters and Gilmour would become bitter enemies for several years while the legal battles swirled.


It wasn’t until 2014 that the band set aside their differences and returned to the studio to record “The Endless River”, an album focusing on instrumentation that remained unreleased from “The Division Bell” session during the early 1990s. It is their final album to date.


As mentioned earlier, the sleeping giant is more than just a band. They are innovators who pushed the boundaries of their use of sound and technology; they are films and embody the concept of art. Their music still resonates with listeners regardless of their age. The reason being not only for their progressive rock, but also for their ability to address complex and controversial issues. From the beginnings of psychedelic rock to being more experimental during their later records, they remain one of the most influential bands in music history and their legacy is cemented.


Now, let us begin the track-by-track review:


Pompeii:


Not much to explore here. Just a brief instrumental.


Echoes Part I:


As you can imagine, there is more room to play with live, so the band makes the live performance last more than ten minutes. The second verse stands out with David Gilmour’s axemanship, which sends shivers down your spine. The song ends abruptly after an extended guitar solo from Gilmour, and later on, you will find out why.


Careful with that Axe, Eugene:


The song has a lot of keyboard noodling by the late Richard Wright, but it goes from mellow to Roger Waters letting out a bloodcurdling scream during the frenetic section, before returning to mellow ambience.


A Saucerful of Secrets:


We encounter a unique melodic complexity as we reach the midpoint of the live album remix. While it may seem discordant, this very element is what piques the listener’s interest, turning the experience into a journey into the avant-garde nature of the song. Gilmour’s heart-wrenching wordless harmony over the final organ chords is not just a standout; it’s a moment that genuinely moves the listener. And let’s not forget Nick Mason’s drumming on the live version, which is equally captivating.


One of These Days:


It may lack the polished crescendo of the studio version, but the live version shows their ability to translate the complex soundscape onstage. Once again, Nick Mason is the standout performer, with David Gilmour dominating the second half with his effortless guitar playing.


Set the Controls for the Heart of the Sun:


The highlight of the concert. It perfectly captures their spooky and hypnotic vibe. Their dynamic soundscapes are fully displayed, showing quiet introspection into those intense and powerful crescendos.


Madomoiselle Nobs:


It seems out of place with the concert so far, despite Gilmour’s harmonica.


Echoes Part II:


As mentioned earlier, the song is split into two sections, and after the abrupt end comes the cosmic seagull section. The standout is Gilmour’s guitar performance leading into the final verse. It seems odd to split this one because it sounds much better and makes more sense in full.


The remastered 2025 version concludes with an alternate take of ‘Careful with that Axe, Eugene’, and the unedited version of ‘A Saucerful of Secrets’


Overall:


Despite the inevitable flaws of live performances, this album perfectly encapsulates the band’s experimental spirit, extended instrumental jams, and dynamic soundscapes. It’s an album that would truly come alive under the influence of a hallucinogen, with the instrumental jams conjuring up some truly eccentric images. This record will undoubtedly resonate with the Pink Floyd connoisseur, offering a unique experience that may prove challenging for the casual listener due to the lack of lyricism.


Song recommendations: ’Set the Controls for the Heart of the Sun’, ‘ A Saucerful of Secrets’, ‘Careful with that Axe, Eugene’


7/10

Week 18: Stereophonics- Make ‘Em Laugh, Make ‘Em Cry, Make ‘Em Wait

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I, like many, have been looking forward to the return of Stereophonics after frontman and chief songwriter Kelly Jone explored a different creative avenue with Far from Saints. The burning question was, which direction would the band explore? Well, their new album, “Make Em Laugh, Make Em Cry, Make Em Wait” was recorded in the legendary halls of Stylus, RAK, and Metropolis studios in London, promising something original as they returned to recording together.


It was surprising that they returned with a record consisting of eight tracks, which is quite short for a long play, and therefore, it created a little apprehension. Would these eight tracks feature the explosive energy we have become accustomed to from the Welsh rockers? (I say Welsh Argentinians are also in the band.) To put it bluntly, the answer is a nuanced album.


While it has fleeting moments reminiscent of anthems such as ‘Bartender and the Thief’, the record takes a bold departure from Phonics’ previous styles. It leans more towards an introspective and subdued version, a shift that may intrigue and challenge listeners. It embraces the melancholic beauty of tracks like ‘Maybe Tomorrow’. This unexpected direction may not align with people’s initial expectations, but it certainly opens the door to a new, open-minded listening experience.


However, every cloud has a silver lining, which can be found in Kelly Jones’s songwriting prowess. The slower tempos and stripped-back arrangements allow his storytelling to shine. His trademark gravelly vocals, with a lifetime of experience, cut through the instrumentation, showing his more fragile side that commands your attention. Kelly is one of the great songwriters of our time, and through this album, you can appreciate his craft.


What “Make Em Laugh, Make Em Cry, Make Em Wait” lacks in raucous energy; it more than makes up for with its profound lyrical depth and emotional resonance. While some fans may have been hoping for the band’s explosive, more vintage tone and might be surprised by the subdued pace, those with a more open-minded approach will find solace in the album’s introspective sound. This record may not be filled with the stadium-rocking anthems we were all expecting, but it’s a testament to Kelly’s enduring talent and the band’s emotional journey. After a few listens, the record grows on you, offering a glimpse into the heart and mind of one of the top Welsh songwriters.


Song recommendations: ‘Colours of October’, ‘Backroom Boys’, ‘Mary is a Singer’

7/10

Week 16: Those Damn Crows- God Shaped Hole

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Those Damn Crows are often compared to Black Stone Cherry, but as you’ll see, I have a different perspective. The band from Bridgend, Wales, is making waves in the industry, particularly in America, where they’ve shared the stage with Queens of the Stone Age and Hollywood Vampires. Their sound has evolved significantly, influenced by these experiences, and their performances have become more polished. You might not have been familiar with this Welsh outfit until now, but this is actually their fifth album. The record delves into the personal journey that frontman Shane Greenhall has been on over the past year, a journey that has undoubtedly shaped their music.

Shane touches on searching for something that cannot be touched on tracks like ‘The Night Train’ and ‘I’ve Always been Unstable’. He is also apologetic on ‘Glass Heart’, which resembles power rock from the 80s. ‘Dancing with the Enemy’ is the opener and is reminiscent of Alice in Chain’s ‘Man in the Box’ during the chorus. The song itself is quite political and suggests we deserve to know the truth. Many songs ask questions about the world over: Biffy Clyro, Enter Shikari, and Bring Me the Horizon-style music.

Only a few songs had that classic Black Stone Cherry mark in ‘Dreaming’ and the closer ‘Still’. I failed to see the blues connection anywhere else on the album. ‘Let’s Go Psycho!’ features rapid guitar shredding with rapping, a bold departure from the band’s usual style. ‘No Surrender’ introduces driving drums, adding a new dynamic to their sound. ‘Turn it Around’ delves into the metal genre, and ‘Spit & Choke’ features fast bass playing over Queens of the Stone Age-esque music, showcasing the band’s versatility and ability to experiment with different styles.

While the band is primarily associated with commercial metal, they show a promising potential to explore other genres. Their track ‘Still’ is a testament to this, resembling the tender acoustic style of Black Stone Cherry. As a recent listener, I’m excited to see what the future holds for this band after their first commercially successful album.

Song recommendations: ‘Dancing with the Enemy’, ‘Let’s Go Psycho!’, ‘Dreaming’

8/10

Week 15: Elton John and Brandi Carlile- Who Believes in Angels?

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Several years ago, Elton and Brandi’s professional relationship blossomed into a deep friendship. Elton, never one to hold back his admiration, often praised Brandi’s unique songwriting, her raw vocal delivery, and her ability to tell stories through her music. What truly drew him to her was the reflection of his own passion in her work, a musician who sang every note with the same fervor as he did.

As for Brandi, she has cited Elton as having a profound influence on her. She likes how Elton is flamboyant onstage, dedicated to his craft, and outspoken when asked his opinion on tricky political subjects.

As I mentioned, this is more than just a friendship between musicians; Elton has often spoken about her during interviews, showering her with praise for her exceptional talent. Elton’s admiration for Brandi’s artistry is truly inspiring. He has also championed Brandi by inviting her to perform at charity events. Thanks to his mentorship, Brandi has flourished in her career as one of the leading artists of modern Americana.

When these two worlds collide, as you are about to discover, they blend their styles, creating a powerful and deeply moving sound and combining his iconic vocals with her soulful harmonies. Something that has been witnessed when they have performed live together. Now, let’s get on with the review of this brilliant collaboration album:

Disc One/Side A

The Rose of Laura Nyro:

What a great way to kick off this record. The slow build-up reflects my listening experience. I had only just started to listen, so I needed time to settle in, and this track allows you to do that. Then, as the verse enters, the bass drum and electric guitar lock into a powerful synchronisation, driving the music forward.

Little Richard’s Bible:

A fitting tribute to the late vocalist because it matches the energy he used to perform with. There is also an easy rhymic section for the listener, who might not have good rhythm. However, I cannot see them falling out of time with the tambourine. Little Richard tracks are laden with fast piano riffs, and this track is no exception. Elton playing equisitely.

Swing for the Fences:

From Elton’s rock n roll fast tempo playing to Brandi’s vocals. Elton harmonising adds to her vocals. The song addresses how people should be who they want to be without holding back—an upbeat track with motivating lyrics and a chorus that sticks in your head.

Never too Late:

As the album’s first half nears the end, the tempo drops off, but Elton still manages to show why he is considered one of the best piano players in the world, with Brandi complimenting his vocals.

You Without Me:

It’s clear that this record, much like a vinyl, was crafted with a soulful touch. Brandi’s solo performance in this slow-paced, easy-listening track delves into the emotional complexities of being a parent and a music artist. She poignantly shares her struggle of being away from her children as they grow up. Her delicate strumming not only complements the message but also evokes a sense of empathy in the audience.

Disc Two/Side B

Who Believes in Angels?

Another slow burner to ease the listener. A sublime duet about the friendship between Elton and Brandi, but is done in a way that could apply to the listener’s friendships—Brandi’s vocals and lyricism link up well with the keyboard.

The River Man:

Yes, you’ve heard of a High Flying Birds track with the same title, but this one has its own unique musical journey. The song starts with a gentle guitar and backing vocals, gradually building into a jazz-infused masterpiece. The only other similarity with the High Flying Birds track is the jazz section, but each song has its own distinct charm. What truly stands out is the powerful chorus, where Brandi and Elton’s vocals blend in perfect harmony, a testament to their musical chemistry.

A Little Light:

Just as the record on disc two/side B begins to soar, the tempo dips, but with great lyricism with the message of keep on keeping on during the hard times.

Someone to Belong To:

The penultimate track matches the same tempo as the previous track, and once again with great lyricism. For me, it acts as the continuation of ‘A Little Light.’

When This Old World is Done with Me:

A beautifully melancholic way to end the album. This track, is a reflective piece on mortality. Elton, alone with his thoughts, sings about accepting his inevitable fate, his words resonating over the contemplative piano, inviting the listener to ponder their own mortality.

Overall:

I have been a keen listener of Brandi since her debut on Later…with Jools Holland in the 2000s. After seeing documentaries about her, her band, and her family, I also find her a very warm and cool person. My only complaint is that the record’s second half doesn’t pick up that much in tempo. However, this studio collaboration has been a long time coming, but it delivers in every way. Another example of two great artists coming together in the studio to create magic that formulates into something truly special. It was worth the wait.

Song recommendations: ’The Rose of Laura Nyro’, ’Swing for the Fences’, ‘When This Old World is Done with Me’

8/10

Week 14: Mumford & Sons- Rushmere

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Mumford & Sons. The name alone has me picturing folk and Americana and the familiarity of the banjo. It took me a while to come around to their music. I didn’t dislike them; I found “Sigh No More” ideal as background music. But they never quite captured my full attention, remaining a band I politely tolerated rather than passionately embraced.

However, over time, their music began to seep into my consciousness, altering my perception and kindling a newfound appreciation.


It was 2015, and I was settling in to watch “Later…with Jools Holland,” expecting the usual mix of established acts and rising indie darlings. When Mumford & Sons performed, I expected to hear the usual. I was utterly taken aback by what I heard.


What followed was a sonic jolt. The band launched into “The Wolf,” a track that shed the banjos and acoustic guitars in favour of distorted electric guitars, driving drums, and a raw, almost primal energy. That folk element everyone had been accustomed to was replaced by a full-blown rock attitude. I was completely taken aback. This was the side of the band I had yet to have heard.

It was a revelation. The track was powerful. Signalling a significant shift in the band’s sound. It was a risk that paid off. After that appearance on Later, I decided to give the band a proper chance, diving deeper into “Wilder Mind” and re-evaluating their entire discography. I particularly enjoy watching/listening to their live shows.


Now, let’s delve into some background on this West London ensemble. Mumford & Sons, formed in 2007, comprising of members Marcus Mumford (vocals, guitar, drums, mandolin), Ben Lovett (vocals, keyboards, accordion, drums), Winston Marshall (vocals, banjo, guitar, dobro. Winston left the band in 2021), and Ted Dwane (vocals, bass guitar, double bass, drums, guitar). They quickly and impressively rose to prominence with their distinctive blend of folk, Americana, rock, and bluegrass, characterised by their soaring vocals, intricate instrumentation, and introspective lyrics. Their early albums, including “Sigh No More” and “Babel,” were massive commercial successes, cementing their place as one of the most popular bands of the decade.


However, with “Wilder Mind,” they consciously moved away from their signature sound, embracing a more electric and expansive sonic palette. While the change would inevitably divide fans, it opened them up to a broader audience and allowed them to explore new creative avenues.


What followed was the 2018 album, “Delta”. Another record showing their ambition and their willingness to experiment with various sounds, and connect with a global audience. Their collaboration with African musicians such as Baaba Maal seemed to have inspired this direction, making their music resonate with a wider, global audience. It may not have sounded like their first two albums, but it proved that they could push the creative boundaries. Now we are up-to-date on what the band released and Winston Marshall’s departure amid controversy in 2021; we will crack on with the review “Rushmere”—their first record in a staggering seven years.


Why “Rushmere”? The title carries a double meaning. Rushmere, a lake in Wimbledon, South-West London, is where the band formed, and this record is a return to their roots. The album, therefore, is reflective. Recorded in RCA Studio A, Nashville, and their home studio in Devon, this period from 2022 to 2024 was their most productive. Interestingly, frontman Marcus Mumford released a solo album the same year the band returned to the studio. This decision might have been influenced by a conversation with Noel Gallagher in a London pub, where he challenged Marcus to fully utilise his songwriting talent, both as a solo artist and with the band.


As usual, the songs ease your soul and are just the tonic when you feel the world’s weight on your shoulders. The album itself has a confessional lyricism and offers hope as the record goes on. So stick with it, even though the beginning is downcast.


Despite the melancholic verses, the opener ‘Malibu’, also their latest single, starts with that unmistakable rousing chorus.


It’s intriguing that others, rather than just the band, wrote a few songs. Adele and Liam Gallagher songwriter Greg Kurstin is one of them. He writes the title track and sends it in a Fleetwood Mac direction. The band’s adaptation of Fleetwood Mac on ‘Caroline’ is a fascinating development, suggesting a new direction for their music. More than likely drawing inspiration from Greg’s song.
Returning to the title track, it was the teaser and leading single. It is a song that is the quintessential folk side of the band enveloped with Fleetwood Mac. ‘Monochrome’ is a romantic ballad that somewhat lightens the mood.


’Truth’ is when the mood shifts, with Marcus radiating confidence over the track. However, this confidence is short-lived, as we soon arrive at the fittingly titled ’ Surrender’. While I believe this is the piano ballad, it’s been a few days since I last heard it, so my memory might not be entirely accurate. In the early section of the song, you can hear his vocals breaking, a clear sign of the emotional depth he’s delving into. Marcus’s performance is a masterclass in emotional expression as he transitions from powerful vocals to tender ones, reflecting a profound ache and a heart struggling to heal.


As I mentioned earlier, the album is reflective, and the lyricism mirrors that. You believe every heart-shredding vocal that Marcus delivers. It’s the same as when he delivers vocals displaying optimism. While the band has always been known for their jovial and forthright songs, this album marks a significant evolution, showcasing a level of maturity we haven’t seen before. The record harks back to the heady days, a nostalgic treat for those who appreciate it. As for me, I’m still processing my feelings about it. However, I can’t help but admire the depth of the lyricism. The album’s conclusion with ‘Carry on’, a song brimming with hope, is a fitting end.


Song recommedations: ’Carry on’, ’Truth’, ‘Malibu’

7/10

Week 13: The Lottery Winners- KOKO (Keep on Keeping on)

~ honestopinions19 ~ Leave a comment

As you may recall, their last album was a unique creation, structured as a therapy session with a psychiatrist. This innovative approach was a testament to the band’s creativity. Now, with their fifth album, the band has truly taken off from their previous record. Robbie Williams, a notable figure in the music industry, has even become a fan and will have them support him on his summer tour. The band has also collaborated with some very familiar faces on this album, and we’ll delve into those in the track-by-track review.

Let’s get into it:

Superpower:

The shortest track starts with a public service announcement and maintains that vocal style in the verses. Co-vocalist/bassist Katie Lloyd then takes the lead, showcasing her vocals in the chorus. The track also highlights her bass expertise over Thom Rylance’s conscious lyrics, which delve into the importance of self-acceptance. The song also references the acronym behind “KOKO”, a phrase used by Liam Gallagher in ‘I’m Outta Time’ for the latest Oasis record “Dig Out Yer Soul”. The phrase, “Keep On Keeping On”, might have led some of you to wonder if it was a nod to a Camden venue.

You Again ft Jon McClure:

As you can see, the second track is a collaboration between the Reverend and the Makers frontman, Jon McClure, and, yes, he is related to Vicky. I know someone who is friends with her, and I had to ask the question. Anyway, ‘You Again’ was the teaser for the album. The track itself is about someone or something from the past that never seems to fade away, so we find ourselves thinking about it frequently. As with the opener, the sobering lyrics are concealed behind a groove instrumental.

Panic Attack:

If you have never experienced a panic attack, this track goes in-depth into what happens when it happens. Thom is known for spoken word and rapping during the songs, but this one is just him singing, showing he has more to showcase. In the final chorus, Thom is joined by children who provide backing vocals. ‘Panic Attack’ eases off that groovy/funky instrumental, which is quite apt when you consider the subject matter.

UFO:

I found the video pretty funny, with this young lad making friends with a child alien. Above all, there is a tremendous duet between Thom and Katie. This time, there is no groovy/funky instrumental, but a downtempo instrumental to match the lyricism.

Ragdoll:

I could not believe who I thought was accompanying Katie. I thought it sounded like the guy from Nickelback, and sure enough, it was indeed Nickelback frontman Chad Kroeger. I never expected that in the slightest. This is not just because the popularity of Nickelback has abated over here but also because it just appeared to be an unlikely collaboration. It is quite refreshing to see an artist from across the pond collaborating with an independent band. Chad’s role in the song includes a back-and-forth romantic duet with Katie. The instrumental has a Nickelback-esque feel, making the track powerful and raw.

Struggling:

The album title is referenced throughout, so you would be pardoned for mistaking it for the title track. I am also guilty of it. When I saw the name, I thought it was a mistake and that it was indeed the title track. One of the rawest songs on the record, addressing the struggles we face in life. It has the same vibe as ‘UFO’ but remains uptempo.

Turn Around:

Their latest single has a summer and festival feel to it. This will go down well at those open-air venues they will be playing on tour with Robbie in the summer. You would have also heard this one being played to death on air at the moment.

Monaco:

Again, this follows the same vibe as the previous track. It’s apt to be titled ‘Monaco’ because you associate that principality with sunshine and glamour. Even though both tracks have hard-hitting lyrics, the disco element makes for an uplifting mood.

Three Wishes:

From the uplifting of the previous two tracks to the melancholic duet between Thom and Katie discussing Thom being rueful about someone no longer a part of his universe and how he wished he had three wishes to have them return. It appears out of place from the rest of the record, but as Spider-man says, “Everybody gets one”.

Dirt and Gold ft Frank Turner:

Another collaboration, this time with the outspoken Frank Turner, flirts with folk music, with stringed instruments over football terrace chanting backing vocals. As usual, the feel-good instrumental is laced with the order of the day: melancholic, conscious lyricism.

The Ceiling:

The final collaboration is with a band that scored two number-one albums in the past 14 months. (You can also include this one. Rick Witter certainly does.)Shed Seven. The track itself is a blend of The Lottery Winners and Shed Seven. We have thumping drums, a brass section, an infectious guitar solo for Shed Seven, and Thom’s spoken-word vocals for The Lottery Winners. The track has a typical Shed Seven swagger—one of the album’s highlights.

KOKO:

The closer is appropriately the title track. The acoustic guitar is utilised over the message conveyed throughout the listening experience.

Overall:

This exceptional record merits a summary as the band, once again, fearlessly tackles issues of mental health that many of their peers shy away from. The album is a perfect blend of melancholic, introspective lyrics and uplifting instrumentation, making it a universally appealing piece, much like their previous record. The collaborations, including the unexpected one with Chad Kroeger of Nickelback, were surprisingly successful. While I personally favour the one with Shed Seven, the one with Jon McClure is equally impressive. The band’s ability to cater to a diverse audience is evident in this album, and I am excited to see them continue to push their boundaries and become one of the Indie greats.

Song recommendations: ‘The Ceiling’, ‘You Again’, ’Monaco’

9/10

Week 12: Playboi Carti- Music

~ honestopinions19 ~ Leave a comment

Five years. That’s how long fans apparently waited, their anticipation growing for a new Playboi Carti album—five years of hope for a groundbreaking release. Yet, what they got was a sonic mess that feels more like a collection of unfinished demos hastily put together for the TikTok generation than a cohesive artistic statement.

Honestly, I never understood the hype. Carti’s music has always struck me as repetitive and simplistic, leaning heavily on mumbled vocals and repetitive beats. But even with low expectations, this new record managed to disappoint. It’s a sloppy, autotune-drenched affair designed for fleeting moments rather than sustained listening.

The most significant issue is the lack of substance. The tracks, with their repetitive phrases and simplistic melodies, often feel more like sonic wallpaper than carefully constructed songs. They lack the complexity and depth that would engage a discerning listener. This is music for a generation with the attention span of a sugar-addled toddler in a sweet shop, always searching for the next sugar rush.And let’s talk about the autotune. While its strategic use can add a unique texture and flavour to a track, here it feels like a crutch, masking vocal inadequacies and blurring any sense of genuine expression. It’s so pervasive that it becomes distracting, creating a homogenous soundscape devoid of personality.

What’s truly baffling is the inclusion of heavyweight features like Kendrick Lamar and Skepta. These are artists known for their lyrical prowess and innovative approaches to hip-hop. To hear them diluted within this autotune-heavy swamp is frankly disheartening. Their contributions feel out of place, like trying to add a gourmet meal to a plate of fast food. It’s as if their unique style clashes with the direction of this project, leading to a lack of cohesion. Their talent is wasted on this project.

Maybe some will argue that I “don’t get it.”. But this album feels lazy and derivative, a clear indication of prioritising trends over artistry, so in other words, I find it fucking shit and ear bleeding. After five years of waiting, fans deserved something more substantial, something more memorable, something that justified the anticipation. Instead, they got noise that will likely be forgotten as quickly as the next TikTok trend. Ultimately, this record confirms my long-held suspicion: the emperor has no clothes, and in this case, he also has a broken autotune machine.