I first heard Tyler the Creator in 2011, when he did ‘Trouble on My Mind’ with Pusha T. I liked what I heard from both. Since then, I have been following Tyler’s career closely. I especially like his live shows and his on-the-bone lyrics. I enjoyed his last album, “Call Me if You Get Lost”, for his flow over great instrumentals. “Chromakopia” sounds like the previous record, but Tyler is showing more of a human side rather than the usual “I don’t give a fuck” we associate with him. The sleeve, where he wears a mask, represents this new phase in his life. He tackles various subjects, including multiple people in a relationship and how material items are more important than spiritual ones.
The opener ‘St. Chroma’ should set the tone for most of the album, but it sadly drops off badly as we reach the halfway point. He tries his best with originality on ‘Darling I’ and ‘Jude Judy’, trying to recapture the essence of 2019’s “Igor” but falls short. However, he finds that on songs like ‘Noid’ and ‘I Killed You’.Unfortunately, I found most collaborations to be lacking, with the exception of Daniel Caesar on ‘St. Chroma’, and Lola Young on ‘Like Him’. These are the only tracks with features that don’t rely on autotune. While Tyler the Creator attempts to explore more diverse themes, he seems to struggle at times. However, there’s no denying his delivery and passion. The bonus track ‘Mother’ stands out as my personal favourite. It’s a deeply personal ode to his mother, a heartfelt narrative of the trials and tribulations she’s faced. This track, more than any other, showcases Tyler’s caring nature.
Tyler is excellent, as always, with his flow and delivery. Where it falls is on the production. “Chromakopia” isn’t a bad album because Tyler makes the most of it. Although, as I have mentioned, the production isn’t all that great, the listen still flies by.
Song recommendations: ‘Mother’, ‘St. Chroma’, ‘Like Him’
It was great to finally see Coldplay live and experience all I have witnessed watching their performances on television/listening to them. I went to Radio 1’s Big Weekend in spring with one of my best friends, and the experience is even better when you are there. Of course, there were still people watching it through their phones, which beggars belief. I prefer to be in the moment, and sharing the moment with Coldplay is one of those times you are glad to be alive. The love and harmony are just immense. It was excellent to experience it before they split up. I was looking forward to hearing “Moon Music” after hearing some of the tracks teased during Glastonbury headliner. Everyone else was also looking forward to it, as the pre-sale for the album sold out at least five months before it was released. Unfortunately, it all was an anti-climax.
The album’s message of love and harmony is evident in its ten tracks, but it seems the artists were too focused on their zen during the sessions. The lyrical content is kept to a minimum, as seen in the opening track, where Chris’s vocals only appear in the final minute. Before that, the track is a soothing instrumental , best described as ambient music.
Of course, one of the tracks featured during the Glastonbury headliner ‘feelslikeimfallinginlove’ is one of the best ones. Chris’s vocals are more pronounced and the kind of song that got Coldplay scores of hits. Lyrically, though, is it found wanting again. The bridge section is excellent, where it is call-and-response, which the band could get the audience to sing back to them, and of course, there is the “la’s” hook, which will work live. I wish I could say I enjoyed ‘We Pray’, and to be honest, it features the brilliant Little Simz, but then it also has Burna Boy as one of the featured artists, and he ruins everything he touches, so as soon as he came on it, I skipped it.
‘GOOD FEELiNGS’ is a funky track, but as the common theme, the lyrics are not great. What about ‘iAAM’? What is that about, lyrically? Chris sings about standing on a sea of pain, but at the end of the lyric, he says that he will be back on his feet again. I mean, that isn’t very smart, to say the least. I suppose Noel did write “Slowly walking down the hall/faster than a cannonball” for ‘ Champagne Supernova’ back in 1995, so it might be just a case of Chris using rhyme.
Don’t get me started on ‘JUPiTER’. The subject matter is to make people aware of what it is like to be a lesbian and face homophobia from another person’s perspective, which isn’t a bad thing, but the lyrics are basic.
In a nutshell, I was highly disappointed with the final album. However, the message of peace, love, and harmony is present, but it’s not the triumphant conclusion we were expecting. The tracks are drenched in ambience, overshadowing the vocals . And when the vocals do appear, the lyrics don’t quite live up to their potential.
I already told you (I think) in my review earlier in the year that I like Shed Seven, and they have been underappreciated by the mainstream. The media especially had harsh words for them during the Britpop movement, but it is nice to see the York lads have remained defiant and carried on regardless.
Take a moment to appreciate their loyal fanbase, who have been part of their journey for over 30 years . Despite the criticism from mainstream music journalists, the band remains popular , largely due to their strong connection with their fans. Their music, especially the 90s singles, have become anthems that still sound fresh today. “Liquid Gold” is a testament to this bond, not just a lazy greatest hits album . It’s been reworked and includes an orchestra, giving it a fresh and bombastic sound. Was it a risk? Yes. Was it worth it? This record is amazing. That’s your answer.
I haven’t looked into the vinyl edition yet, but that version is even better than the other versions. I just went to the band’s official YouTube channel and listened to it. I’m glad they chose to reimagine their greatest hits because we already had “Going for Gold” released in 1999.
The opener is ‘Getting Better,’ featuring strings and bass. Although the track has been altered, it still maintains the uplifting tempo of the original with a bigger chorus. I’ll be honest with you: You are in for one hell of a listen.
I am going to single out ‘Devil in Your Shoes’ and ‘On Standby’ next for continuing in the same vein as ‘Gettin’ Better’, but this time, violins are a highlight on the chorus. It is worth noting that both songs retain their originality.
One of the album’s most striking features is its uplifting nature, enhanced by the orchestral elements. The orchestral version of ‘Disco Down’ is a perfect example. Surprisingly, it surpasses the original, which was already brilliant, in terms of its musicality and emotional impact.
I could wax lyrical about this record all day and all night. It is truly magnificent. The listen flies by; you are definitely having fun.
Some might say the band are showboating on this album and basking in their success earlier in the year, but who cares? They have been underappreciated for decades. They deserve to swagger. The band sounding tighter than ever, and Rick Witter’s vocals have remained ageless. Honestly, I couldn’t tell his vocals apart from then and now.
We can only dream the reworking ‘Going for Gold’ to become the next James Bond theme because it will be the perfect fit.
Issy Ferris performs vocals on the new version of ‘Waiting for the Catch’. Yes, some recent songs get a makeover. The latest version with Issy will be one of their best in future years.
There is room for a new song called ‘All Roads Lead to You’, quintessential Shed Seven.
Okay, reworking songs with an orchestra or otherwise isn’t original, but the Sheds haven’t made it cliched. The band worked with the orchestra to build up the chemistry and create lightning in a bottle while still keeping the band’s identity.
The album wraps up with the enchanting ‘Chasing Rainbows’ , another sublime reworking. I do wish ‘She Left Me on Friday’ was included, as it’s a personal favourite. I urge you to listen to the album from the beginning, as it’s a true delight with no disappointing reworkings. This record is a gem, consistently uplifting and enjoyable. I’ve included some song recommendations, but trust me, it was a tough call. Kudos to the Sheds for this fantastic record.
Song recommendations:‘Going for Gold’, ‘Waiting for the Catch’. ‘All Roads Lead to You’
I loved the album’s name after a stolen 8-foot-tall fibreglass gorilla from a Garden Centre in Lanarkshire, Scotland, last year. The song isn’t bad, either. I also love the way they shape themselves to spell out his name. Now, you associate the band with shoegaze and all that, but although this does feature synths, there is a lot of disco funk in this one. In fact, the record is split into disco funk, the kind of music you would associate with Jungle, and the other half is quintessential Blossoms. I like it a lot, and the tracks have a lot of playfulness.
The sound of the disco funk half of the album is retro yet modern. The opener, ‘Big Star,’ beautifully explores the theme of longing for a relationship and the anxiety of making a good first impression. I believe the current Everton manager Seán Dyche also appears on ‘What Can I Say After I’m Sorry?’. Well, he does on the video, anyway.
The title track is fun and groovy, with the band pleading with you to look out for the stolen fibreglass gorilla. I also enjoyed ‘Mothers’ and ‘Nightclub’. To be honest, I didn’t find any of the tracks shit. It’s different from what I have heard before, especially in the first half. I never saw them venture into Jungle’s turf, but I’m certain that the London outfit won’t begrudge them doing so. The second half plays it safe and sticks with their usual sound. That’s the only downfall for me.
Song recommendations: ‘Gary’, ‘Mothers’, ‘Nightclub’
Snow Patrol. Are they Irish? Or Scottish? After all, they were founded in Dundee in 1994 by Irishmen. I am unsure how I got into the band, but the first song I heard was ‘Spitting Games’ which was released in 2003. The band already had six singles by then and two albums that absolutely flopped before releasing their breakthrough, “Final Straw”, in the same year. Of course, they are best known for ‘Chasing Cars’, ‘Run’, and ‘Set the Fire to the Third Bar’, the latter featuring Martha Wainwright. They have also supported Oasis and are usually on the main stage at various festivals. There have been two changes in the band: their drummer, Johnny Quinn, and bassist, Paul Wilson, both departing.
Now, onto the album, ‘Years that Fall’ takes inspiration from fellow Irishmen U2. However, I found it quite a challenging record to listen to. I associate the band with indie rock, but instead there a plethora of piano ballads. Quite downtempo for a band that’s usually in-your-face. Don’t get me wrong some of their piano and downtempo songs are classics, but this album is a very hard listen. While the record’s second half shows some promise, the album as a whole seems to lack the ‘spark’ that usually characterises the band’s music. I cannot see many of these songs being used on the tour. I know Gary Lightbody has faced adversity recently, which is evident in the tempo of the tracks, but the songs that make it on the setlist will be used during the quieter moments.
I also like ‘These Lies’ and ‘What if Nothing Breaks?’ I believe the latter is your typical Snow Patrol track. I cannot remember, as most of the record is just downtempo. The album is an hour long, and that’s quite long for modern records. However, the pacing and lack of variety in the songs make the listening experience feel even longer. Sorry, guys. It’s far from your best work.
Song recommendations: ‘Years that Fall’, ‘What if Nothing Breaks?’, ‘These Lies’
David Gilmour returns nine years after his previous solo album. He announced his return with the leading single ‘The Piper’s Call’ a while ago now. “Luck and Strange” is David’s fifth solo record since he embarked on a solo career in 1978. Of course, he was also in Pink Floyd back then and has been in sporadic reunions. Many have said the Pink Floyd albums he did without one of the founding members, Roger Waters, are nothing more than David’s solo career concealed behind the band’s name. Especially “The Endless River”. I bought that as a Christmas present for a family member. They were left unimpressed as it was full of guitar solos and instrumentals. The only track with vocals on was a soundbite of the late Stephen Hawking. I have heard the record and concur that it is just David performing guitar wizardry.
I find it quite odd that after 46 years as a solo artist, David has just released five albums. Okay, he has done records with Pink Floyd, but even they have been quite lengthy album-to-album. I also found it rather bizarre that he appeared on Later…with Jools Holland in the ’90s when he wasn’t on tour or releasing any material. His estranged former band member Roger Waters hasn’t released many himself, with 4 in over 40 years. Is this a way of signalling yet another reunion? They seem not to care that much about releasing their own material. Especially in the modern era, when promoting an album via a tour is necessary. Or is it a case of them needing each other to bounce ideas off but being too stubborn to set aside their differences?
As much as my political views do not align with David’s or the fact I wasn’t born with the fine bone china spoon in my mouth, I will not let this blur my judgment on how great a guitarist he is. Besides listening to him, whether solo or with Pink Floyd, the way he plays is effortless. He doesn’t even look like he is concentrating. He is that smooth. My favourite solo of his will always be from ‘Comfortably Numb’. His axe-manship is also easy to define. It doesn’t matter if he is collaborating or not. You know it’s him. I cannot recall when I first heard Pink Floyd, but I remember seeing this really cool sleeve of “Dark Side of the Moon” and thought I’d listen, and it remains one of my favourites. I loved listening to it when I was baked. It didn’t encourage me to seek out David’s solo work; I just wanted to do it anyway because I found him to be a great guitarist.
His next solo album, “About Face,” was released in 1984, and it is considered his best by his fans and peers. Although he wrote most of the songs, he co-wrote a few with Pete Townshend. Returning to his relaxed approach to releasing albums, his follow-up was an astonishing 22 years in 2006 with “On an Island,” during which time he was chastised for using his wife as the songwriter.
Of course, it would take another nine years before he released his third album, “Rattle That Lock,” another record that received scathing reviews from the critics. ‘In Any Tongue’ was one of the few tracks that was any good. I imagine the critics savaged David again because he employed his wife for songwriting. However, it’s important to note that ‘Rattle That Lock’ was a vast improvement on “On an Island,” a sign of hope and optimism for the future.
Another nine years after his fourth album is “Luck and Strange”, which I have enjoyed listening to so far. It seems David has regained his hunger, and it was well worth declining Noel Gallagher’s request to do the solo on ‘Easy Now’ because he was busy recording this. Again, his wife returns as lyricist, his son on backing vocals, and his daughter takes lead vocals towards the end of the record. I actually think it’s the last track, but it has been over a week since I last listened, so my memory hasn’t been jogged.
Hindsight is a beautiful thing, and maybe I should have sought out the extended edition, which has an additional two tracks that are instrumentals. David isn’t a strong vocalist, but he is superb when he lets his guitar playing do the talking. The opener is called ‘Black Cat’ and is your quintessential David Gilmour sound. ‘Vita Brevis’ is a brief acoustic track over an album brimmed with long tracks that features sudden silence before going back into it. The final track is an extended version of the title track. It is dubbed ‘Luck and Strange Original Barn Jam’. This appears to be added as filler, but it’s David with his band having fun and goes on for 12 minutes. The guitar playing is once again effortless.
On the shorter version of the title track, David has added the keyboards of his late bandmate Richard Wright. This is a beautiful and nostalgic tribute to him. Does it sound like Pink Floyd for this reason? It probably does, invoking a sense of nostalgia. However, I find that David’s solo material is more removed from the band.
‘Dark and Velvet Nights’ is another highlight with organs and an ear-bursting sound. ‘Scattered’ has a piano solo, and you would expect David to follow it up with a guitar solo on this progressive blues track, but instead, he starts singing. ‘A Single Spark’ is a ballad with David at one with his Fender Stratocaster. I can just imagine him closing his eyes and falling into a trance as he plays effortlessly.
I feel ‘Between Two Points’ with his daughter Romany doesn’t get the love it deserves. The penultimate track addresses misogyny with lyrics written by her mother, but that isn’t why I like it. I like Romany’s vocals on this family affair track backed up by her father’s almost vocal-like axe-manship. ‘Sings’ is an acoustic ballad, which isn’t all that, I’m afraid. It’s a bit bland for David’s calibre. ‘Yes I Have Ghosts’ is a folk track over an acoustic that might not please the purists. The record, which I was shocked to see usurp Oasis, is…I don’t know. I love his solos and overall playing, but there isn’t a punch to it. The lack of ‘punch’ in the record, in my opinion, is due to the lack of dynamic changes and the consistent mid-tempo pace. It is mid-tempo to a plod. There’s not much change in the tempo—nothing to really get you moving.
In conclusion, I would encourage you to savour David Gilmour’s sublime playing and effortless solos. This is the heart of the record, a true reflection of David Gilmour’s artistry. The album itself is a typical display of his carefree attitude towards recording, a trait he often exhibits. He hints at a follow-up after the tour. As I said, this is a celebration of his guitar mastery, above all else.
Song recommendations: ‘Black Cat’, ‘Between Two Points’
I didn’t know who Sabrina Carpenter was until I attended Radio 1’s Big Weekend this year, and she came on before Olly Alexander as the sky started to get cloudy. There was momentarily rain on that spring bank holiday. She would later return to do a song with the closing headliner, Coldplay (I bet all those fanatics were gutted as they missed that.). This is when I found out just how popular she was. The barrier was lined with young girls waiting for her set. When she eventually went onstage at about five in the afternoon, it was only what I would describe as being transported back to the 1960s, watching The Beatles perform as young girls screamed in your ear. Honestly, it was that mental. The young girls surrounding me and my friend went into a frenzy during the performance and knew all the words to every song while screaming at the introduction of each song. My ears were ringing after hearing the youngsters screaming in my ear. I thank god that modern PA systems are so powerful now that it doesn’t affect the artists onstage anymore.
I could still hear her songs regardless of all the pandemonium in the crowd. The biggest for ‘Espresso’- a song that had been number one for two months at the time. It’s funny that she has just started to get fame, considering she has been around for over a decade. It all began to fall into place after two tracks off her previous album, “Emails I Can’t Send”, the two being ‘Nonsense’ and ‘Feather’ went viral. Of course, the biggest breakout was the one already mentioned in this paragraph, and features on this record as it happens ‘Espresso’. After that track was met with international approval, everyone was on the edge of their seats, eagerly anticipating the release of “Short n Sweet”. As I predicted in a previous review, I knew Sabrina would have no problem reaching the summit of the album chart in several countries. Enjoy my track-by-track review of her latest album:
Taste:
We begin with ’Taste’, which I am pretty certain she opened her Big Weekend set with. It is easy to understand why this song opens the album because it is utter earworm. This has become a fan’s favourite with her incredible vocals and uplifting instrumental backing her up. However, the subject is quite sinister. Sabrina is taunting her ex-boyfriend’s new flame (I say that. She is an ex-ex-girlfriend.) that even though they are no longer together, his lips still contain her taste. It isn’t all evil, though, as she plays around with metaphors and uses comical elements, which she is famed for. This gives her tracks of feeling retro and modern simultaneously.
Please Please Please:
It’s another fan favourite. It has also been featured heavily on social media. This one is about being in a relationship that sometimes you are not entirely proud of despite being in love with them. Sabrina is concerned that her significant other will cause her great embarrassment in a social setting and, therefore, could damage her reputation within her profession. Of course, once again, Sabrina’s lyrics are playful about the situation. This one has resonated with fans and regular folk as, at some point, we have all been in this scenario.
Good Graces:
I can already tell this record will be full of heavy subjects with light-hearted humour, and this one is no exception. An acoustic greets us at the intro accompanied by synthesisers and her mesmerising vocals, which are the perfect ingredients for a pop RnB track. Sabrina is heavily inspired by her idol, Ariana Grande, as she discusses her self-worth. Letting her lover know that if they cross the boundary, she will leave and hate them. If they don’t? She will remain loyal and want to spend the rest of her life with him. Although she may be popular among young fans, Sabrina uses swearing with a carefree nature. This song alone contains a hook that is “I won’t give a fuck about you”, which she repeats over and over. You can hear this in the intro. You have to admire her humour. I wonder if she would be any good at stand-up.
Sharpest Tool:
Pay close attention to this one. She cleverly starts a lyric with the previous lyric’s word , a testament to her songwriting prowess. It’s a clever bit of songwriting, possibly a subtle dig at her boyfriend’s intelligence. Even he , through her canny lyricism, should understand her dissatisfaction with the relationship.
Coincidence:
It is most certainly a crowd participation song, as the track has the classic “na-na-na” vocalisation. The instrumentation is also whimsical, adding a fun and entertaining element to the song. And let’s not forget her now infamous trait of pouring sarcasm into her lyrics, which adds a witty and humourous touch. Sabrina becomes suspicious of a woman who frequently visits her and her boyfriend despite him reassuring her nothing is happening. Unfortunately for him, Sabrina’s womanly instincts kick in, and she knows he is unfaithful with this frequent visitor. She also taunts her lover’s lack of brains to cover his tracks.
Bed Chem:
Wow! What a refreshing change in direction. For the first time, Sabrina steers away from the sarcastic-laden tracks to a more uplifting song. This new track is a breath of fresh air, with no sinister undertones. She explores the joy of being in a new relationship and feeling infatuated all over again,perfectly matching the RnB production and her astounding vocal range.
Espresso:
Now to the song of the moment, which changed Sabrina’s venture into music forever. Its whole uplifting nature , a rarity in recent times, is reminiscent of Pharrell’s ‘Happy’. It’s that kind of track. With no hint of misery and a chorus that’s impossible to resist, it’s a song that’s impossible to escape. Even if you’re not a fan of hers, you’ve undoubtedly heard it, whether you realise it or not. It’s a song that’s everywhere, and its appeal spans generations. This quintessential pop song is for all ages. Will it be the biggest hit of the year? Who knows?
Dumb & Poetic:
Sabrina returns to her trademark songwriting, sharing her perspective on a past relationship. She confronts an ex who mistreated her, seeing through his attempts to appear enigmatic. She takes pleasure in dismantling his ego, particularly relishing the reminder that he only pretended to be a man.
Slim Pickins:
Another signature song, this time set against classic country-folk instrumentation. The former Disney Kid also incorporates the twang we associate with country music. The title track is apt as it explores the theme of choosing a partner from a pool of ‘evil’ men, or remaining single. Is this change in musical direction surprising? Not at all. The artist’s ability to seamlessly transition between styles is a testament to their musical talent.
Juno:
I was unaware , this song is a tribute to the 2007 film ‘Juno ‘, that addressed the issue of teenage pregnancy. Sabrina’s song, with its humourous take on the subject, adds a fresh perspective. The song’s structure revolves around Sabrina’s love for her man and her desire to have his children,hence the Juno reference. In terms of production, it’s a quintessentially pop track.
Lie to Girls:
The first ballad appears on the penultimate track. This is the first time that she gets serious on the record. This heart-wrenching ballad tells an ex that there is no need to lie because if they like him, they will be gaslighted and accept his behaviour towards them. She also takes aim at her father, who cheated on her mother—stressing that she will not be as forgiving as her mother if a man does the same to her. She also confesses that she is no different from other girls as she gets gaslighted sometimes, even though she knows the relationship is doomed deep down.
Don’t Smile:
The closer is a dream-pop track, a genre that Katy Perry has skillfully utilised. The production feels light and brings the listener a sense of relaxation, perfectly fitting the dream-pop style. The song itself reverses a common adage, encouraging you to cry that it’s over and not to smile because it happened. Again, this is directed at an ex, and she is basically saying that he should regret losing her and that he struggles to move on. It’s a unique twist in a dream-pop setting.
Song recommendations: ‘Sharpest Tool’, ‘Taste’, ‘Good Graces’
This will be a short review. I dreaded listening to and reviewing the latest No. 1 album when I saw it was Post Malone. I’ve never been a fan. However, I was intrigued to listen this time as I discovered “F-1 Trillion” was a country record. This features a plethora of who’s who from the scene, including young and old artists like Luke Combs, Billy Strings, Tim McGraw, and Dolly Parton. I really wanted to like the album for that alone. Unfortunately, Post’s incessant use of autotune ruined a record that had the potential of being great, with its lyrical content and sublime collaborations.
If you’re curious about her name, it’s a tribute to scatting, a technique deeply rooted in jazz. As a Filipino Londoner, she’s a bit of a mystery (to me at least.), and I had to do some digging to learn more about her. This is her third album, and it’s been produced by the legendary Rick Rubin at Shangri-La, Malibu.
Her real name is Beatrice Laus, and her breakthrough came with a song named ‘Coffee’, which she wrote when she was living with her parents at 17. Of course, seven years after that hit (I’ve never heard it), the singer-songwriter/guitarist has her own place. She also had a track go viral via TikTok. It was about crushing on Pavement’s frontman Stephen Malkmus, which isn’t only a strange crush but also made her go viral when most of those using TIkTok are too young to know the band, let alone its frontman.
Her second album, “Beatopia”, released in 2022, is a far cry from her debut in 2020 “, Fake it Flowers”. Her debut was more overdriven guitars, which is quite popular among pop-punk and was once utilised by bands like Green Day when they were fresh on the scene. You could add Oasis to that because the first albums used a lot of overdrive on their guitars to give it that attitude. The follow-up was more downtempo with the music we associate with artists like Norah Jones, Corinne Bailey Rae and Gracie Abrams. Since being one of the support acts on Taylor Swift’s “Eras” tour, her fame has skyrocketed to a level she never expected. Anyone on the fringes who has supported Taylor so far on the tour has seen their stock rise to incredible levels. I’ve noticed this is the third fringe support act with a number-one record.
Bea’s vocal ability increased on this album, and she discussed how she is learning to mature as an artist while being under the microscope over catchy hooks and rocking out over dry lyrics.
’Ever Seen’ was inspired by how someone complimented her eyes and how that gave her an ego boost. ‘Real Man’ discusses how an old boyfriend had failed her.
On songs like ‘A Cruel Affair’ and ’Tie My Shoes’, she blends reality and fantasy in discussing her fears of being an adult, a theme that continues from her previous album, which was named after a fantasy world she created. The blend continues on this record, making it a sequel of sorts, but the characters within the stories have evolved, and their issues become more intense, adding a layer of intrigue to the album. ’Take a Bite’ is the opener, starting with a rock-out bang. It is about gaining knowledge after a relationship has ended and finding the answers as to why the initial chemistry didn’t last.
‘One Time’ is about taking revenge, and then we have her hurting in ‘Girl Song’, so there are several sides to her and her character’s personalities. Leading on from ‘Girl Song, ’ the song focuses heavily on her self-loathing, especially on her appearance.
On ‘California’, she talks about life on the road and how it is affecting her being away for long periods from her lover. This is expressed further in ‘Coming Home’, where she longs to return to her regular life and enjoy the simple things.
Rick successfully balanced Bea’s conflicted emotions in the overall production, a feat missing from her self-produced previous albums. Rick’s knack for producing what the artist has expressed within their lyrics is evident, particularly when you look at artists like Eminem. But it’s not just Eminem-Rick has worked with countless other artists across a whole range of genres, demonstrating his versatility.
As the album was recorded in California, why wouldn’t Red Hot Chili Peppers inspire her? That is evident on ‘Beaches’, another track to rock out to. As mentioned, Bea likes a lot of overdrive on her guitars, but Rick has found a balance on this album. There is even the odd piano ballad.
We have a mixture of piano ballads like ‘Girl Song’, where we can see her vulnerabilities, then the rock-out guitars on ‘Everything I Want’, the attitude and the self-confidence on ’Take a Bite’, and then there is even bossa nova featured on ‘A Cruel Affair’. It’s quite funny that her lyrics contain her insecurities about how others perceive her. She says writing is her way of healing and letting it pour out through songs, but she fears people in her life see it as a way to cause harm and upset. I have to say, as I knew nothing of the artist, I was expecting something that was pop or R&B. I didn’t expect such a diverse and balanced record of rocking tunes, downtempo, acoustic ballads, with, as mentioned before, the odd piano ballad. This unexpected variety is what makes her work so intriguing. I will definitely seek out her material in the future.
Song recommendations: ‘Take a Bite’, ‘Beaches’, ‘Girl Song’
Week 32: Chappell Roan- The Rise and Fall of a Midwest Princess
I have to confess I didn’t know much about Chappell Roan until I listened to the debut album. All I knew is she was supporting Olivia Rodrigo on her “GUTS” tour, and that her stock has risen since that has happened. It is also worth noting the record was released last year and didn’t fare so well. It is amazing what exposure on a grand scale can do, though and it certainly has for the Missouri vocalist. Anyway, here is a track-by-track review:
Femininominon:
The opener’s first verse has quite a powerful message about being in love with someone online and how it seldom works. This is then followed by a bombastic chorus with synths and sublow bass. It showcases her ability to switch up her emotions.
Red Wine Supernova:
Ever since the unique charm of ‘Champagne Supernova’ by Oasis caught my attention, I’ve found myself drawn to songs with similarly quirky titles. This uptempo-pop track, unlike its melancholic counterparts, exudes a unique charm. Its tempo perfectly captures the exhilarating feelings of a new relationship, where everything seems to be on an upswing. The synthesiser and the artist’s witty and cheeky lyrics add a distinct flavour to the song, making it a delightful listen.
After Midnight:
This one is quite a personal track. Chappell came out as a lesbian and is worried about her parents reaction. She also feels shame for not taking life too seriously and enjoying it.
Coffee:
We have reached a moment of tenderness and quiet on the album with this piano ballad. Her melancholic lyrics about moving on after a breakup are matched by her soft vocals reflecting that heart-sinking feeling.
Casual:
Remember those power ballads that were popular in the 80s? Well, this is one. The mood has drastically shifted as Chappell ups the tempo of this emotional ditty. The topic this time is about having your profound feelings for your lover dismissed. The song clings on to optimism that their perspective will be the same as yours, and that feeling of it never will, and it’s time to go before the pain gets too much.
Super Graphic Ultra Modern Girl:
The upbeat track is about not caring what others think of you when dating and cutting loose those wasting your time not getting to know you.
HOT TO GO!:
How you are reading this is how it is sung. I dare anyone not to be smiling along to this uptempo and cheerful track. With its infectious beats and catchy lyrics, it’s utterly understandable that this is a crowd favourite and the highlight of her concerts. This is the ultimate cheesy-pop dance track that is for everyone.
My Kink is Karma:
The song is about karma, as the title suggests. Chappell finds pleasure in knowing that an unpleasant ex is finally getting karma.
Picture You:
Another downtempo ballad, where she sings softly yet powerful.
Kaleidoscope:
Another downtempo track addresses how her best friend has crossed the line regarding intimacy.
Pink Pony Club:
This sounds like a name for a strip club, and funnily enough, the song is about a small-town girl who leaves home to become a stripper at the world-famous Pink Pony Club in Santa Monica. Well, at least in Chappell’s imagination, anyway.
Naked in Manhattan:
Chappell discusses her sexuality on this one as she dabbles with experimentation and risks with a new lover.
California:
This is an ode to her love of music that also describes the pitfalls of becoming a musician, like feeling pressure not to disappoint everyone who believes in her. It is also a shot at her former label, which never gave her a chance after her first few songs were not well received. It’s ironic how that all worked out for her after their haste to dump her. Showing how California music moguls do not always have your best interests and are too impatient with talented artists.
Guilty Pleasure:
The closer combines all the subjects discussed so far. The intro appears to represent another ballad with the acoustic guitar playing before bursting into funky synths during the chorus.
Song recommendations: ‘HOT TO GO!’, ‘California’, ‘Red Wine Supernova’
Honest Opinions 