Conscious

Week 32: Reneé Rapp- Bite Me

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Track-by-track review:

Leave Me Alone:

If I weren’t doing a track-by-track review, I would give an introduction to Reneé Rapp (I did plan to do a brief, but unfortunately, brief wasn’t all that brief.), but what you will discover through this is that it embodies her whole devil may care attitude, and how she lives life how she pleases. She will only do whatever makes her happy, rather than appease people. This is what appeals to her fans, and people like me, who have only just discovered her. As the review goes on, you will see that she is outspoken and isn’t afraid to use expletives or throw in the occasional comedic remark. Such as this track, which has lyrics like “Manager called said ‘where’s the single?”. She also expresses she wants to have fun over business matters. She also references The Sex Life of College Girls, a show that I think is on ITV2 at an early hour on a Saturday—a show where she coincidentally appeared. The reference calls out fans of the show, who are less than impressed that she left it to pursue music.

Mad:

This acts as the second single, which is a pop anthem about having an argument with her lover, and wanting to make amends, but the lover is hurt and won’t accept the apology. She tries everything to make amends, but her lover refuses to lose face. She goes on to attack her lover by accusing them of fucking with her head, and therefore has had enough, and lost the energy to fight. All of that aforementioned takes place in the chorus. The song itself resonates with the listener because we have all been through this at some point in our love lives. It is a classic pop track.

Why is She Still Here?:

This emotional piano ballad was the third and final single to be released off “BITE ME”. This blues-infused R&B track fits in with her vocal range. The focus is on her begging her significant other to let her or another woman go, because both are being played. You can hear this frustration in her vocal delivery and by the lyricism used. She also finds it hard to let her lover go, even though she feels she is being treated as a bit on the side.

Sometimes:

This is basically the second part of ‘Why is She Still Here?’, but instead of showing her frustration, Reneé displays more resignation as expressed in the chorus. She pleads with her lover to let her go. A highlight of the track is her lyricism and falsetto.

Kiss it Kiss it:

From the emotional piano ballad to pure pop energy. Do not let your kids listen to her as she gets very sexually intimate. I imagine it is about her current girlfriend, Towa Bird, whom I believe was her on-screen fling in the television show mentioned back on ‘Leave Me Alone’. It’s about the journey from despair to the ecstasy of being madly in love. There are some great comedic lines in this, such as “She asked how I like my breakfast?/ I told, ‘hot on the bedroom floor’. There is also one about making love and almost getting pregnant, even though that is impossible with two women. The lyricism, as you can see, is full of comedy, but also addresses the passion and sexuality between them. Regarding the soundscape, it contains a catchy drumbeat coupled with a bouncy bassline.

Good Girl:

The title explains it all. She talks about how she used to be a good girl. She says she has a safe lifestyle in favour of drugs, and living in the fast lane. She expresses that her new life is disappointing her father. This 80s synth pop track is the second part of ‘Leave Me Alone’.

I Can’t Have You Around Me Anymore:

This acoustic guitar ballad explores the theme of falling in love with a friend, but questioning whether these feelings are genuine, despite her having a girlfriend, which is affecting her relationship. Her vocal delivery is apt for the reflective nature of the track. As the track unfolds, she tells the friend she has feelings for to end all forms of contact, because she cannot deal with having her around while she is in a relationship, and is scared of losing both women.

Shy:

I have failed to mention it so far, but I do sense a Ke$ha vibe with her both spiritually and vocally, and this song would belong in Ke$ha’s early 2000s era. You notice the ongoing theme of the album is based around her girlfriend. This song expresses that she is behaving oddly for her because, instead of being smitten, she is used to being quite volatile. For once, she feels shy as the title suggests, and therefore wants Towa to snap her out of it. However, these emotions are all contradicted in the bridge, where she embraces being shy.

At Least I’m Hot:

You may think the title suggests a moment of egotism, but no. She is talking about herself ironically. The track is quite dark because it talks about being depressed and overwhelmed by everything surrounding her.

I Think I Like You Better When You’re Gone:

The title is very misleading because as you start to listen, you can hear the R&B ballad is full of emotion about her ex-girlfriend, and recalling when they were together. In the first verse, she expresses that she is happy when she isn’t around and hopes she never returns because she has made peace with the relationship approaching its end. The second has more reflective lyrics, but it is her guilt during her delivery that adds to the authenticity of the story.

That’s so Funny:

One thing I appreciate about her tracks is her knack for sarcasm. Not many Americans understand irony, but she certainly does. She aims at an unnamed individual who has spoken ill of her, putting her in a negative light. She also references the television series in which she was in the second verse.

You’d Like that Wouldn’t You:

She doesn’t hold back on the final track as this action-packed song contains sarcasm, her delightful vocal range, and a lush soundscape. As you can imagine, Reneé brings attitude to the table, taking aim at another ex-girlfriend and saying she wants her back, because she cannot find anyone better. I thought Olivia Rodrigo was blunt and honest, but Reneé Rapp takes it to a whole other level.

Song reccomendations: ‘You’d Like That Wouldn’t You’, ‘Leave Me Alone, ‘Good Girl’

9/10

Week 31: The K’s- Pretty on the Internet

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My introduction to the Merseyside band came from a Mod film from 2020, and I’ve also been following several mutual fans on Twitter, so I have been in the loop, so to speak. I didn’t realise how good they were until I saw their cameo in the film. I’m shocked it took four more years to release their debut album, which I’ll discuss shortly. This band is phenomenal, and for me, they are the next Arctic Monkeys. “Pretty on the Internet” proves that. 


So their debut was titled “I Wonder if the World Knows?”, released only last year, which did not get the credit until after its release, but never reached the top spot. I do not know why. It is brilliant. You can see why the guitar-driven indie rock reached No. 3. It was always going to be tough when they faced stiff competition from Beyoncé and fellow rockers The Libertines. Both of the latter reached the top spot.

Here is how good it really was: it was named the second biggest debut record of 2024. You can see why the second album has soared to the top spot. They are growing a devout fanbase and have the passion and drive to be a success. As mentioned in the Wet Leg review, it is always a challenge to exceed expectations on the second record, but The K’s have done that.


They have started where they left off with “Pretty on the Internet”. They have found their identity, which includes melodic guitar riffs over a powerful and fast-tempo wall of sound. Akin to their counterparts, Arctic Monkeys, The Libertines, The Coral, DMAs, bands like that.

However, underneath all the noise, is frontman and chief songwriter Jamie Boyle’s more delicate nature as he writes songs that are laced with vulnerability and honesty.

Something that will be highlighted in the following paragraph. His lyricism relates to the listener, and his vocals are strong and clear. Showing his ability to write songs in the background and lead the band onstage.


Returning to Jamie’s vulnerability and honesty. That shines through on the lead single ‘Breakdown in My Bedroom’. He addresses, with frank honesty, his struggles with mental health. Saying that, even though he is in the limelight, he tries to hide his actual emotional state underneath his onstage persona. Then we have anthemic tracks like ’The Bends(Here We Go Again)’, which shows the band’s ability to craft melodies, and choruses that the crowd will be singing back to them during their live performances on their forthcoming tour. At present, I believe they are also doing the festival circuit. This is why the atmosphere during their gigs is electric. The record is set to be played in full during five gigs next month.


The album isn’t just all about guitar solos or pulsing drums. There are more tender moments as heard on ‘Helen, Oh, I’, where strings and the pianos are at the heart of the track. It gives you a chance to catch your breath from a record that is otherwise going at 100mph. I love the synchronisation between Boyle’s reflective lyrics and the exemplary instrumental arrangements. They have treaded new ground with some more introspective tracks, and I do not doubt that they will continue to explore that.


The album closes with ‘Perfect Haunting’, a track that further pushes their horizons as they flirt with a more theatrical sound. It’s something to look forward to on future tracks as they show their expanding versatility. The band fuses pop-punk rhythms and raw energy with punchy rock, flavoured with indie songwriting by Jamie.

And it’s this unique blend that is not only proving popular among their peers but also attracting a growing fanbase. As they look to rise through the ranks, it’s clear that you, as part of this movement, are in for an exciting journey.


The band are not interested in being a band for nostalgia, but rather rhythms and hooks that belong in the now. They are also outshining their peers with their distinctive wall of sound. With two outstanding records under their belts, watch them grow from support acts to headliners. I thoroughly enjoyed the listen, and I think you will too.


Song recommenations: ‘The Bends(Here We Go Again)’, ‘Breakdown in My Bedroom’, ‘Perfect Haunting’

9/10

Week 30: Alex Warren- You”ll be Alright Kid(Chapter 1)

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Alex Warren is a YouTuber with personal storytelling on his debut album “You’ll be Alright Kid (Chapter 1). Now, the original came out in September last year, but has been bolstered with further tracks in the updated version, which has seen him soar to the top spot. We hear about life experiences, fears, and the importance of self-acceptance, all set to the backdrop of pop music.


Despite my limited knowledge of his online persona, one thing is sure: he is a talented songwriter who can deeply connect with his audience. His lyrics touch on themes of vulnerability, struggles with fame, past traumas, and the journey to inner peace. His tracks are not just songs; they are a personal journal set to music, offering a glimpse into his troubled soul and aspirations. He speaks to his younger self, assuring him that the pain will fade and his fighting spirit will emerge.


As I mentioned earlier, the record has pop soundscapes, but more alt-pop, and of course, his brilliant songwriting. Synths can be heard along with the acoustic guitar and heartfelt vocals. The lyricism is never overwhelmed by the clean and polished production. Of course, if you’ve listened to any of his songs, you will know they are extremely radio-friendly, but it is his delivery that gives them that real emotion. This is more evident on his confessional tracks.


The album strikes a chord with the listener, delving into the trials of mental health, the experience of being an outcast, and the complexities of teenage life. These themes have been the driving force behind his growing fan base. It’s inspiring to see a YouTuber transform into a serious musician. His sound, at times, bears a resemblance to Myles Smith, making it difficult to distinguish their songs, especially when a new one is released.


There is a song for every listener, which is why he can easily connect with them. I am looking forward to his second record, hoping for a bit more rock.


Song recommendations: ‘Troubled Waters’, ‘Carry You Home’, ‘Burning Down’

8/10

Week 29: Wet Leg- Moisturizer

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Since their self-titled debut, which I reviewed, everyone has been longing for their follow-up, “Moisturizer”. I’ve heard a rumour that the band (which is actually a duo) is planning to release their own brand of moisturising cream, and this album has been released in conjunction with it. That could all be nonsense, but who knows? I must say, before I begin a more in-depth review, that I found it fantastic. It is fun yet tender, with catchy lyrics, playful references that we have come to expect from them, new soundscapes, uplifting, and plenty of love. As I mentioned earlier, they’re a duo, but I have just done some quick research and discovered they are now a five-piece band. It is always tricky to emulate the debut record, but they have avoided the second album blues. As I mentioned, it features new soundscapes, which make them more emotionally intimate, but they still retain their identity.


We begin with ‘cpr’, a song currently being played to death on BBC Radio 1 and Radio 2. It is a song about falling in love set to a high-tempo beat, driving guitars, and full-on rock. Let’s examine some of the lyrics. There is a part where frontwoman Rhian Teasdale says, “Hello, 999, what’s your emergency?…Well, the thing is…I’m in love’ was delivered in her trademark raspy and gaspy vocals. It is both cheeky and clever lyricism. It sets the tone for the rest of the album, which is based around love. The soundscapes include 80s pop-punk and, of course, 90s indie rock. They have been discussing very deep and emotional things, but they still maintain their fun side, so the listener remains engaged rather than getting discouraged from listening.’


liquidize’ follows, a track about anxiety and wanting to desire without delay, for example. “It’s not like me to fall over heels-I melt for you, I liquidize- I want you to want me all the time’ speaks to the majority of us because when we are infatuated, we want to rush straight in, and push things forward in a relationship before it is given a chance to breathe. ‘catch these fists’ is up next, and I absolutely love it. The leading single features fuzzy guitars and garage-rock foundations, accompanied by flirtatious and sometimes threatening lyrics. It is in-your-face with plenty of attitude.


‘davina mccall’ is a soft, romantic track that leaves us pondering its connection to a television presenter. The band’s use of pop culture references, such as Davina McCall, in the chorus, is thought-provoking. They have a knack for transforming what might seem like ‘mediocre things’ into something deeply personal, which shows their creativity. This was previously demonstrated when they incorporated numerous Mean Girls references into their self-titled debut.’


‘mangetout’ sees the band further flirt with new soundscapes, as they turn into half-post-punk, half-sensical slogans, and half-whimsical daydreams. It is sure to be a success when performed live. One of the great aspects of the record is the balance between sincere vulnerability and the band’s playful nature. The tempo slows during ‘pond song’, with bassist/guitarist Hester Chambers confessing that she has “never been so deep in love” over tender guitars and a dreamy soundscape.

Then comes the extremely intense ‘pillow talk’. This raw track with pulsing addresses wanting to do everything imaginable with a crush.


The last three songs condense everything that has come before. ‘don’t speak’ uses clever language, ’11:21’ acts as someone eavesdropping on a personal, and intimate late-night call, and to complete the trio is ‘u and me at home’, which is a sweet love song. It serves as a reminder that even though the last three tracks are more tender and downtempo, they reflect that the loudest statements of love are often found in the quiet.‘


Of course, their debut was littered with songs about partying, crushes, film references, playfulness, comedy, sexual innuendos, and quick-witted one-liners. Well, their second record still includes all that and then some. The songs are bigger sonically, revealing a deeper side.


It is nice to see that the band is not a one-trick pony and will be around for a long time. This album showcases the band maturing, but just enough to preserve their fun and humorous side.


Song recommendations: ‘catch these fists’, ‘cpr’, ’11:21’

9/10

Week 27: Lorde- Virgin

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Lorde or Ella Marija Lani Yelich-O’Connor first came to prominence at the tender age of 15. Of course, my introduction was through Later…with Jools Holland, where she performed ‘Royals’, a track that, somewhere along the line, has been called “racist”. I am not here to discuss that, but rather how she became more than just a flash in the pan after her strong debut. I also recommend watching a YouTube documentary on her from her native New Zealand, featuring accounts from her friends and detailing her early rise.


The Irish New Zealander has been known for her reflective lyrics, otherworldly production, and for defying the conventional expectations of what a female pop star should be. Her debut album, “Pure Heroine,” demonstrated an exceptional level of maturity for a mid-teenager, both lyrically and vocally.


Lorde has never been shy about discussing her struggles with fame and her thoughts on culture and the arts. In a world full of fake bullshit, Lorde searches for the truth.

She is not interested in following the herd. After the debut came “Melodrama”, a collection of bright melodies, followed by the reflective “Solar Power”. What’s consistent across all her records is that her music never stays the same. She’s always evolving, always stepping out of her comfort zone. This was just a brief introduction to Lorde, as I want to focus more on the review. But I strongly recommend that you listen to her albums, experience her live performances, and seek out documentaries, because her story is a fascinating journey that’s worth exploring.


People have been waiting quite some time for her fourth studio album, “Virgin”, and although it is easy on the ear, the sound itself has remained stagnant. Everything else, from the lyrics to the themes, is, as always, the strongest link. I am quite surprised that her sound has not moved forward. As with every record, she is not interested in the past. As I mentioned, she likes to challenge herself, but this feels like she has played it safe, for once.


The opener ‘Hammer’ is quite a misleading finish. It builds and builds, and you expect a mind-blowing chorus, but instead it fades into an instrumental interlude. A rather disappointing end to a track that had the potential to be much grander than what it was.


Her leading single, ‘What Was That,’ also suffers the same fate, as the wishy-washy music surrounds her lyricism and strong subject. The track also builds like ‘Hammer’, and just like that track, it too comes to a shuddering halt.


After the shaky start, the record picks up with tracks like ’Shapeshifter’ and ‘Man of the Year’. Let’s focus on that. Her vocals, shrouded by a bass line, are then joined by strings and synths, leading to a moment of grandeur. This allows the lyrics to take centre stage before the build-up.


‘Favourite Daughter’ shows her ability to devise a memorable chorus and addresses how her mother has dealt with her fame. ‘GRWM’ and ‘Broken Glass’ also have strong choruses. It’s just a shame that what appear to be potentially good tracks are overshadowed by the production.


The title track, despite the production that overshadows her vocals and lyrics, showcases the artist’s potential. The opening two tracks, along with ‘Current Affairs’, unfortunately, fall short of the standard set by “Solar Power”. It’s uncertain where “Virgin” will rank over time, but for now, due to the production hindering the lyrics and vocals, it appears to be her weakest yet.


Song recommendations: ‘Man of the Year’, ‘Favourite Daughter’, ’Shapeshifter’

7/10

Week 26: YUNGBLUD- IDOLS

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I believe this is my third review of YUNGBLUD, who is embarking on a new chapter as he seeks to evolve his music further. The opener of “IDOLS” is the mammoth ‘Hello Heaven Hello’, which lasts a staggering 9 minutes and 6 seconds. I am amazed it was released as a single. I do not know how long the radio edit is, but I feel it would make the song worse, as there is a breakdown section over the halfway point. Although it has the raw energy we expect from YUNGBLUD, there is a certain amount of control. Instead of displaying full-on rage, there is more evidence of this on ‘LOVESICK LULLABY’, where he blends guitar shredding and spoken word verses over tender harmonies. It reminds me of many indie rock anthems from the 1990s.


Carrying on with ‘LOVESICK LULLABY’ (Did he get it from the chorus of ‘Mr Brightside’?), the song also shows what has influenced both his sound and lyricism. That being mainly from indie rock and Britpop. It also shows how he is maturing and becoming experienced with the universe. The album, as a whole, shows this mature approach. For example, the aptly named ‘Change’ displays this level of maturity as he focuses more on the rhythm rather than being loud or brash. The only time it rears its head is during the guitar solo, but nonetheless, I can see this track becoming an anthem.


Of course, there is a balance in the type of subjects offered. For instance, ‘Ghosts’ addresses optimism while ‘War’ is the opposite. YUNGBLUD has consistently shared his life experiences, allowing listeners to relate to them regardless of their social status.


YUNGLBLUD’s fans have grown up with him, and his genuine care for his fanbase makes him more than just a musician. In an industry where relationships with fans can often feel pretentious, YUNGLBLUD stands out as a kind soul who appreciates and respects his fans.

Song recommendations: ‘Hello Heaven Hello’, ‘Change’, ‘Ghosts’

8/10

Week 25: James Marriott- Don’t Tell the Dog

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I had never heard of James Marriott when I first embarked on listening to his second album for the review. I discovered he was a YouTuber, and I honestly had a look of utter disdain when I heard that because most of their music is terrible. However, that expression quickly changed. Apparently, his debut record, “Are We There Yet?’ is also worth a listen, and I will find a window at some point. The indie artist is constantly up against it as he is labelled a “YouTube musician, ” but “Don’t Tell the Dog” might send him on the road to being respected as a serious musician in the indie scene.


Upon my first listen, I was greeted by ‘Ventriloquist’, and the minute I heard autotune, I had to skip to the next track. My eyes already rolling, expecting the album to be fucking shit. But I found myself pleasantly surprised from then on as I heard indie music that kept my interest.


Songs like ‘It’s Only Love’ showcase his vocal ability and knack for writing hooks, and I disagree that it sounds like The 1975, a band he is heavily influenced by.


Save for the opener ‘Ventriloquist’, the only other weak tracks are ’Toothache’ and ‘Food Poisoning’, which lack that earworm chorus that would turn these tracks into setlist anthems. The guitars also lack drive in ’Toothache. ‘Food Poisoning’ is lyrically brilliant, foretelling the story of a rocky relationship, but as mentioned before, it lacks that chorus, which can be found on tracks like ’Something’s Wrong’, and on that subject, let me discuss that one in the following paragraph.


It is the standout track, with a clean yet driven bassline over the verse and James’ ability to use falsetto.


Another highlight from the album is ‘Plasticine, which showcases how catchy Marriott’s songs are. This one reminded me of Liverpool outfit The Wombats during their heyday. The Wombats have a knack for doing metaphorical lyricism and dance infused with indie rock, in case you were wondering how ‘Plasticine’ is reminiscent of their sound.


Of course, like any record, there are moments of reflection and downtempo, but the album shines through when James ups the tempo and turns up the volume controls. ‘Pillow Fight’ adopts elements of Pink Floyd in the chorus, where the track picks up. Of course, like most records, the closer is reflective. James pulls out the acoustic for ‘Limbs’.


“Don’t Tell the Dog” showcases James growing as a musician, and he might be around for much longer than expected. A serious musician within him is building a strong song catalogue. It will not be long before he loses that social media tag.


Song recommendations: ‘Something’s Wrong’, ‘Plasticine’, ‘Pillow Fight’


8/10

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