Conscious

Week 5: Central Cee- Can’t Rush Greatness

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The only tracks that didn’t quite hit the mark for me were the ones that featured American or American-based artists , 21 Savage, Lil Durk, and Lil Baby. While these collaborations were undoubtedly high-profile, they seemed to lack the raw authenticity and personal storytelling that Central Cee brings to his solo tracks. That aside, the rest of Central Cee’s debut is excellent. Cench has been making waves for a while now. So much so that he is now in his mid-twenties, which is hard to believe. Of course, the lad from West London talks a lot about his journey from Shepherds Bush, living a stone’s throw away from Loftus Road, where Queens Park Rangers reside, to international fame.

Central Cee has been a Drill artist I have always respected because he doesn’t talk shit about killing people. He talks about the pitfalls of that lifestyle. Cench has always worked well with Suntan Dave, as shown with ‘Sprinter’, and the pair collaborate once again for ‘CRG’. This track certainly is chart-friendly and gives off an African vibe. It could be Afrobeat, but I tend not to listen to much of that due to the artists’ insistence on using autotune excessively. I especially love Cench’s delivery here as he goes slow, choppy, to rapid in an instant.

The album’s production, which is done by an army, needs a special mention. It is more relaxed and uses rimshots and hi-hats over the subs and kicks associated with Drill. Of course, the producers were wise to go with this option because it makes it more appealing to the mainstream.

What I particularly like about “Can’t Rush Greatness” is the stark contrast Cench presents between his past and present. Despite moving on and buying the luxuries he could only dream of growing up, he remains grounded. He has moved away from the grimy streets of West London but still doesn’t forget where he came from. Cench has achieved this by talking about the journey out of the ends, a journey that was not always easy, with very little about his life of luxury now. He confessed feeling apprehensive about talking about where he is from because things have changed a lot. He didn’t want to be perceived as a hypocrite.

‘Don’t Know Anymore’, which closes the records, chronicles his transformation from poverty to wealth. He reminisces about the days when he and his siblings depended on free school meals. His journey from cutting the mould off the loaf of bread to his current success is a source of pride. His lyricism and flow, with each listen, evoke a sense of admiration for his growth.

Cench, in his own words, admits he’s not the best songwriter, often choosing to freestyle over an instrumental. Yet, this approach, born out of his self-awareness, works effectively. Whether he constructs a song like that honestly, I can’t say. But if he does indeed write songs, he’s doing himself a disservice because his lyricism is nothing short of phenomenal. He’s not just self-aware, but also impressively savvy with pop culture, and wears his heart on his sleeve. As I mentioned, only three tracks fall short, but the rest of it is excellent. A marvellous debut.

Tracks to avoid: ‘GBP’, ‘Truth in the Lies’, ‘Band4Band’

8/10

Week 4: Robbie Williams- Better Man Official Soundtrack

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As you can see from the front cover, it bears a striking resemblance to the 1997 album “Life Thru a Lens”, with Robbie surrounded by the paparazzi and a shaven head. However, the ‘Better Man ‘ cover, named after one of his songs, features a unique twist-a CGI monkey in place of the human Robbie. The monkey also plays Robbie in the film. The album also features a range of special guests , including Carter J Murphy, actor Steve Pemberton, who plays Robbie’s dad, Tom Bales, Kayleigh McKnight, and Adam Tucker, who provides the vocals for Robbie’s earlier material. The reimagined songs, featuring an orchestra and shortened for the soundtrack, also include the man himself. Now, let’s move on to the track-by-track review:

Feel featuring Carter J Murphy & Steve Pemberton:

The song undergoes a transformative journey in the reimagined version . It evolves into a duet, with Carter and Steve stepping into the roles of a young Robbie and his father. As the melancholic melody unfolds, Robbie’s presence is felt, adding a poignant layer to the song. This transformation adds a new dimension to the original version, making it a compelling listen.

I Found Heaven featuring Tom Bales & Adam Tucker:

The original song , one of the very first by Take That, the boyband that launched Robbie’s career, is a quintessential 90s pop with a club element. Adam Tucker’s vocals, reminiscent of a young Robbie , are so similar that it’s often a delightful challenge to tell them apart. This similarity adds an intriguing layer to the performance, engaging the audience in a unique listening experience.

Rock DJ:

I didn’t mind this song when it first came out in the summer of 2000, but it got overplayed and, therefore, saturated. I grew to hate it for its cheesiness. The new version hasn’t changed my opinion.

Relight My Fire featuring Tom Bales & Adam Tucker:

I never liked the original version with Lulu of this poppy dance track, and I still don’t.

Come Undone:

I still need to know how Tupac Shakur inspired this song. Anyway, I liked this one for its lyrical content and the story Robbie foretells. The song tells the story of his dealing with instant fame, his father leaving home, self-loathing, and drug addiction.

She’s the One featuring Adam Tucker & Kayleigh McKnight:

As you’re familiar, this was a cover of the World Party song, a rendition that stirred the late Karl Wallinger’s animosity towards Robbie. Adam, with his heartfelt vocals, is joined by Kayleigh, who embodies All Saints member Nicole Appleton in the film . Together, they bring to life this romantic ballad.

Something Beautiful:

I still do not like it, but I understand now that the song is about Nicole aborting his child. So, instead of this song being pop, the uptempo conceals a darker meaning found within the lyrics.

Land of 1000 Dances featuring Adam Tucker:

This track features a repetitive chorus, blaring drums, and a brass section. The orchestra shines through as the vocals reveal the sense of overwhelmingness that Robbie experienced on his way up.

Angels featuring Adam Tucker:

I have always loved this song, and if you say you do not, then you are a fucking liar. It is a heartfelt ballad with a sweet guitar solo. It isn’t a patch on the original, but the soaring orchestra is used to great effect and represents how Robbie was mourning for his Gran and then how his emotions boiled over, which led to him going off the rails and turning to drugs and alcohol to escape the trappings of fame.

Let Me Entertain You featuring Adam Tucker:

One of his anthems that always gets the crowd in the mood, with its rock n roll element and a sublime brass section. This version replicates the live version of the iconic and record-breaking Knebworth Park gigs in 2003. Need I say anymore?

Better Man featuring Adam Tucker:

From the rock-n-roll anthem of the previous track to a more downtempo one, this track showcases the artist’s growth and introspection while he was checked in at the Priory to battle his demons and addictions . I have always loved this track for its reflective lyrics and the mature delivery in the vocals.

My Way featuring Adam Tucker & Steve Pemberton:

Another track that replicates a live performance, this time from Robbie’s swing concert at the Royal Albert Hall in 2001. Robbie dedicated it to his parents in the venue. Unlike in the film, Steve, who depicts Robbie’s father, joins him onstage. Steve can certainly sing, and in a way, this version is just as good.

Forbidden Road:

The final track was written specifically for the film and is used for the end credits. It is an acoustic ballad with reflective lyrics about Robbie’s journey so far. It is certainly not deserving of the end credits, where most people lose interest and leave the room/cinema.

Song recommendations: Angels, She’s the One, Forbidden Road

8/10

Week 2: Elton John- Diamonds Blu-Ray with Dolby Atmos Edition

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This review will be all over the place, so bear with me. As you may know, the Blu-ray/Dolby Atmos edition of Elton John’s 2017 album “Diamonds” was released a few days after New Year’s Day, and on the back of it, he displaced his very good friend and Rocket Entertainment Artist Ed Sheeran at the top of the album chart.

So, what’s the standout feature of this edition? It’s the 48 tracks, this time in a different order than its previous editions . But the real game-changer is the significantly enhanced sound quality, especially on the tracks recorded on analogue from the 70s to the 90s. You’ll notice a marked difference in the sound of songs from that period, with a reduction in distortion and crackling, particularly in the studio recordings pre-1980s. The Dolby Atmos experience, as I’ve previously highlighted in the Oasis “Definitely Maybe” 30th-anniversary reissue and Ed Sheeran’s “Mathematics Tour Collection”, is truly exceptional. The investment in an album in Dolby Atmos is truly worth it for the quality of the output.

For example, take a listen to songs like ‘Rocket Man (I Think It’s Going to be a Long, Long Time’, ‘Daniel’, ‘Bennie and the Jets’ and ‘The Bitch is Back’, and you will notice that the crackle has been removed. So you can enjoy those songs from his early years without them being ruined by the crackle or pop.

The same goes for the early tracks. Because the crackle or pop has been removed, the listening experience is more enjoyable, and you can appreciate young Elton’s wizardry.

Unfortunately, Dolby Atmos did not work well with ‘Saturday Night’s Alright (For Fighting)’. For some reason, it sounded awful.

I was also disappointed with the mixes of the later material, but it is hard to remaster what already is close to perfection sonically. They do not require much touching up, so they don’t sound much different from the originals compared to the early material.

If you didn’t know, the 48 tracks combine his greatest hits, best b-sides, non-album singles, best live tracks and from “The Lockdown Sessions”. You are not listening to anything fresh, albeit a new perspective on his earlier recordings, which have finally eradicated the crackle or pop. The enhanced sound quality, thanks to Dolby Atmos, brings a new life to these older recordings, making them a joy to listen to. Once again, I will be doing the songs to avoid because, as you can imagine, this record is full of too many gems to break down into just three tracks. I cannot do that because apart from ’Saturday Night’s Alright (For Fighting), even some of the earlier songs I am not fond of sound great with Dolby Atmos.

Recommended: Listening to the earlier songs remastered with Dolby Atmos

8/10

Week 1: Ed Sheeran- +–=÷× Tour Collection (Live Edition)

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Ed’s “Mathematics Tour Collection” was released in the late summer of last year. Still, I am unsure of what I should be reviewing, so I have reviewed the latest edition of the album that was included in the standard edition towards the end of last month, which is a live version. I am not particularly sure if the songs are from random shows or just one particular show. Apparently, the live version was recorded via Ed’s in-ear monitor. I will get on a bit later about why I believe I do not find that to be the truth

After a two-year tour, which is set to continue into the current year, the fans, known as “Sheerios”, were eagerly awaiting a live version of the compilation. Finally, as mentioned earlier, the live album arrived towards the end of last month , boasting a massive 26 songs . It’s a mammoth listen , but one that’s as good as all his shows. I was lucky enough to see him at His Master’s Voice Hatfield Forum in October 2011 during his debut “Red” tour , an experience I’ve already shared in my first review of his material.

Despite being live, the mix has been produced to make it smoother than it usually is in a live setting. I enjoyed most of the songs performed. Of course, there were songs like ‘Sing’ and ‘Bad Habits’, which I do not, but I gave them a chance. They are better than their studio counterparts.

Back to earlier with the in-ear monitor, I heard that the sing-alongs were not evident, but I found that nonsense. I could hear his biggest hits sung by the crowd and Ed participating in crowd participation. It didn’t sound like they used an in-ear monitor for those tracks because I could hear everything crystal clear. You wouldn’t get that from a monitor because you hear what every member of the band is doing. You will notice most musicians take their monitors out during crowd interaction, or they would only hear muffling.

Get ready for an immersive journey because this review is going to be a deep dive. I tuned in to this album via his official YouTube channel, but the ultimate digital experience is the one mixed with Dolby Atmos. If you haven’t tried it yet, it’s like being right there in the studio or at the show. This technology is so powerful that it might even overshadow physical CD versions, which currently can’t match its immersive quality. Just like at his live shows, the opener is ‘Tides’.

I love ‘Tides’. It’s a full-on rock anthem, and it’s clear why it’s chosen as an opener. It’s a real crowd-pleaser, and I can only imagine the electrifying atmosphere it creates in a stadium. Despite not being one of his popular tracks, I’m certain that after this tour and the release of the live edition, it’ll gain a strong following and become a fan favourite. I was personally captivated by its rock attitude and enjoyed it thoroughly.

Does Ed’s music resonate more with his loop pedal or with a band? The answer is in your hands. For me, it’s a matter of the venue. I find his solo performances more intimate in an arena or open air, while the grandeur of a stadium is best complemented by a band. Imagine ‘Tides’ without a band in a stadium-it’s a rock anthem that thrives on the depth and fullness a band brings.

After that barnstorming opener, the tempo drops with ‘Blow’. Ed still puts his heart and soul into it to win the crowd/listener over.

‘Castle on the Hill’ follows, and it sounds amazing live, especially in a stadium. Live is where it is at for me. Studio recordings can never capture that magic in a bottle. Again, this track would be flat without a full band.

Now, usually with Ed’s live albums, they fuck up how he uses the loop pedal, and your mood can drop while Ed sets it up for the song.

However, on ‘Shivers’, which follows ‘Castle on the Hill’, they have cut out all the fannying around, and the track begins as he has almost finished setting up, so you are still riding from the high of the previous track.

Of course, some Sheerios will not like the idea of not seeing him set up the loop pedal with his various sequences and layers, especially on the final track, ‘Bad Habits,’ but the producers have to think of all the listeners and how to keep the momentum.

The live version includes all his songs, such as ‘The A-Team’, ‘Lego House’, ‘Give Me Love’, et cetera. You cannot please everyone with the listings, but that’s how the dice rolls.

I mentioned in my review of “Divide” that ‘Dive’ is a heart-wrencher, but Ed sings it subliminally live. Knowing the personal meaning behind it makes it even more of a standout because he manages to keep his emotions in check.

Tracks like ‘The A-Team’ and ‘Lego House’ from his debut “+” remain timeless and still are live favourites.

‘Overpass Graffiti’ was performed the correct way live to bring the rhythm section to life. Ed with just a loop pedal wouldn’t have given it justice.

One of the main sticking points is crowd participation, with some arguing it’s difficult to hear the crowd. However, I personally disagree; I can hear them loud and clear. Perhaps I’ve just been lucky to have the volume set at the perfect level. To gain a broader perspective, I’m eager to hear from a Sheerio who was at one of these shows.

My one flaw with the live tracks is the remastering of them. I would rather hear all the imperfections, and the rawness you experience at the shows. Now, I am not saying include the soundboard(they sound terrible when you listen back), but smooth it over just enough to keep that live feel.

Hopefully, any of the flaws can be corrected in a live film version, which surely has to be inevitable to celebrate a tour of this magnitude.

Of course, my absolute favourite will probably always be ‘You Need Me, I Don’t Need You,’ and it hasn’t changed after listening to it on this tour. The delivery, the flow, and the lyricism have always been top-class on this. Now, I am going to hopefully do this once this year; who knows? I am going to pick tracks you should avoid because there were far too many excellent tracks.

Songs to avoid: ‘Sing’, ‘Bad Habits’

9/10

Week 48: Kendrick Lamar- GNX

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I have been a fan of Kendrick’s since I first heard him back in 2019. His flow and lyricism impressed me. He also seldom uses autotune, which is always a good thing. He doesn’t chat a lot of shit that most of the modern rappers talk about. You can see why 2pac is his idol. Like his idol, he also talks less about materialistic things and focuses on political and everyday matters. Fuck what you might have heard from stuck-up journalists snarling at this album because it is brilliant. Of course, there is a trio of tracks that utilise autotune, but the rest of the record is great apart from that.

What I also like about Kendrick’s albums is they are the same as his idol. Creative and original from their predecessors. Lamar includes old-school soul, old-school RnB, violins, Spanish guitars, trap drums and flirts with rhythms. There is also the sample of 2pac’s ‘Made Ni**az ’. It’s a personal favourite of my 2pac songs. 2pac’s influence on Kendrick’s music is undeniable, and this is evident in his sampling of ‘Made Ni *az ‘. However, my only complaint with sampling it for ‘Reincarnated’ is that he seems to be emulating Pac’s style rather than expressing originality. I can still tell it’s Kendrick because of the flow, but he seems to be trying to deliver the same as Pac did on ‘Made Ni*az’. The video is also the same. I am unsure if Kendrick is in it because the one I saw was the original with Pac, or as he was known on that track, Makaveli Tha Don.

As you’re aware, Kendrick has recently experimented with a pop element in his music, a move that added a unique twist to his Drake diss track, ‘Not Like Us’. It’s a bit disheartening that this wasn’t part of the album, as I was quite taken with how he dismantled Drake with undeniable truths. However, a similar vibe can be found in ‘tv off’, a track featuring lefty gunplay. While it may not be a diss track, the production bears a striking resemblance. ‘Not Like Us’ was brought to life by Mustard, and Kendrick has once again enlisted his services for this particular track, which is a real bop.

Aside from ‘Reincarnated’, my favourite track for obvious reasons, my other favourite is the captivating ‘Heart pt. 6’. It’s one of those tracks that hooks you in with its production within seconds, and then enthralls you with its lyricism and delivery within a minute. His delivery, in particular, has a unique blend that reminds me of the Ying-Yang Twins with a hint of Q-Tip. But let’s not get too distracted. This is a track that you’ll find yourself drawn to, wanting to hear it again and again.

Another reason to admire ‘heart pt.6’ is Kendrick Lamar’s unwavering respect for 2pac. He once again outshines Drake with his lyricism and undeniable facts. It’s about time that the truth about Drake was revealed. It’s reassuring to see a 2pac fan like Kendrick Lamar stepping up. Drake’s recent insult to Pac , by using his rapping on one of his many subpar tracks , didn’t sit well with Kendrick. He made sure to let the fake rapper know exactly how Pac fans felt about it.

My final favourite is also the final track featuring SZA, ‘Gloria’. This is Kendrick’s version of Makaveli Tha Don’s ‘Me and My Girlfriend’, except that ‘Gloria’ is a girl rather than a gun. It also mirrors the middle, similar to ‘My and My Girlfriend’.

Although you can hear that Kendrick is heavily inspired by 2pac/Makaveli Tha Don, the entire album is a nod to the West Coast Rap scene and its legends—another reason to like the record. While the bitter cold starts to set in, this album is a ray of sunshine with uptempo production to lift your spirits. The lyricism is also on point; you can see why he is highly regarded. I look forward to the follow-up.

Song recommendations: ‘Reincarnated’, ‘heart pt.6’, ‘Gloria’

9/10

Week 47: Linkin Park- From Zero

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When I was in college, back in the early-2000s, people listened to Linkin Park a lot: them and Papa Roach. I didn’t get into the band until the 2010s and could appreciate the late Chester Bennington’s vocal range. I was young and naïve, so I saw him as “The singer who screams down the microphone”. When I listened to the band properly, I grew to appreciate their lyrics and, as mentioned, Chester’s singing. As we all know, Chester passed on over seven years ago. Whether you believe in the narrative or conspiracy theories is another thing. I have more than shared my opinion on Chester’s passing among friends and social media. I will leave my opinions aside for the review. The band has had various guest vocalists since his passing while they have performed and finally settled on former Dead Sara vocalist Emily Armstrong, who has proved a hit with the fans during the live shows. She joins with co-vocalist/rapper Mike Shinoda and new drummer Colin Brittain. Although Emily proved to be a hit when the band performed live, the reaction to her taking Chester’s place was mixed. I believe his estate was none too pleased with this decision. I wasn’t sure at first because this is like Metallica without James Hetfield or Lars Ulrich. It usually ends in a disaster because it isn’t the same without the heartbeat. I can understand people’s reservations about Emily becoming a full member, but to me, she reminds me of a female version of Chester.

I hope she is given time to grow. She is a fantastic vocalist, but it is hard to see past Chester’s legacy. Should the band have packed up and started a new project? Hmmm…I don’t know. It probably would have been a better idea, but the band’s decision to carry on is one that we, as fans and critics, should understand and respect. It’s not an easy path, but it’s one they’ve chosen to take.

What I’ve noticed about “From Zero’ is, well, nothing. This sounds like the Linkin Park we all know and love. The only difference is a female taking over vocal duties. It hasn’t tread any new ground, but is now really the time to be experimental? I’d say no. They need to stick to a tried and tested formula while they make this transition. And it’s crucial for us, the fans, to be a part of this journey. It also needs to be this way to see how people react to hearing the first album without Chester. Unfortunately, this record will always be based on what it was then and what it is now.

My highlights were ‘IGYEIH’, ‘Over Each Other’, and ‘Good Things Go’. Emily especially stands out with her angst-ridden vocals. As for the rest, my concentration wavered, and I felt they lacked that energy I usually see from the band. The majority of the tracks are too short. They don’t get a chance to get going before they are over. This album might be ideal for those with a short attention span, but I personally prefer a record that keeps my interest with longer, more elaborate songs, with at least 4-5 verses.

I wanted to like this album, and I have listened to it a few times, but I can’t get into it. Yes, it treads familiar ground, but the tracks are far too short, as mentioned. I don’t want to hear songs that are ideal for TikTok. I prefer longer songs that have more substance.

I’m afraid I will have to give “From Zero’ a low mark. It just doesn’t do it for me and has nothing to do with Emily. I thought she was excellent. Despite that, those who review it will all be guilty of measuring it against the former guise of the band, and I am no different. It isn’t fair, but you can’t help doing it. As mentioned earlier, when a band loses such a key member, it seldom feels the same or works out. Queen probably being the only exception. I hope the band continue as Linkin Park regardless and gives everyone time to transition. Their live shows have been amazing with Emily, so I am sure this will work out. You can’t really measure them on this record. Let them be more experimental on what follows. Then, we will know if the legacy remains intact, and I believe they have the potential to do so. And on a final note, why was the album so short? It lasted almost 32 minutes. They might as well have released this over 4 EPs.

Song recommendations: ‘IGYEIH’, ‘Over Each Other’, ‘Good Things Go’

5/10

Week 45: The Cure- Songs of a Lost World

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I first heard The Cure when they released the relatively upbeat ‘Friday I’m in Love’. I then saw frontman Robert Smith on the television on the Chart Show on ITV, and he scared the shit out of me. I was terrified of how he looked for several years, and my phobia of him and goths did not subside until I met them in high school. It was then that I started to understand that they were nothing to be afraid of, and my perception of goth culture changed. Anyway, I have been listening to the band for a few decades and was thrilled to see Noel Gallagher ask Robert Smith to remix ‘Pretty Boy’. Who saw that coming? Noel, a fan of The Cure, and requesting Robert to remix a High Flying Birds track? Back to the band, this is their first album in 16 years. Their last being “4:13 Dream” in 2008. They played a year earlier at Teenage Cancer Trust, where I saw the band in a new light. I only knew them for their pop classics, but this showed more of their gothic persona. Long intros and guitars tuned into D. The latter represents a more gothic and metal sound.

It’s quite strange that the band has toured consistently since 2008 but hasn’t released a new album. The fans feared that the band were becoming a greatest hits act, so it was nice to hear new material being teased since their 2022 tour.

The fans were relieved to hear new material and accepted it, which can be a gamble because the majority turn up to the gigs to listen to the classics and other familiar songs. I disagree with this, but most do. I would prefer to hear a balance. Funny how things change, eh? In 1995 at Glastonbury, Robert joked that their forthcoming “Wild Mood Swings”(released the following year)would probably be purchased at Camden market before its release. These days, records can be streamed, downloaded, and leaked on YouTube before they are even available for purchase.

‘Alone’ opens the album and is a sign of things to come. Long, drawn-out intros before Robert utters a single verse, usually beginning around the 3-minute mark as most of the eight songs last over 7 minutes, with the final track lasting almost 11. The themes are also pretty heavy. Discussing the deaths of his parents and his brother among them.

This record, unlike the commercial pop-friendly uptempo songs such as ‘Friday I’m in Love’, ‘In Between Days’ and ‘Just Like Heaven’, delves into deeper subject matters. Despite its weightiness, it’s still relatively easy to listen to because you get lost in what Robert says. My favourite on the album is a song I first heard during the previous tour, which only recently ended, called ‘I Can Never Say Goodbye’. This song, a heartfelt reflection on the loss of his brother, is a testament to the album’s emotional depth. Robert’s struggle to perform it live without succumbing to his emotions was evident, as he often moved away from the microphone, tears silently streaming down. I recommend listening to the lyrical content. It is wonderful yet heartbreaking.

The final track, ‘Endsong’, is the lengthiest track on the record, just under 11 minutes. It’s a journey back to Robert’s childhood, where he was playing in the garden, gazing up at the moon in awe thinking about how man went there. Now, as an adult, he’s attempting to piece together the significance of these memories. It’s this deeply personal connection that resonates with fans like Noel Gallagher , who, as a songwriter himself, can truly appreciate the genius of Robert’s songwriting.

There are some new additions to the band. Roger O’Donnell rejoins to play keyboards to be reacquainted with Robert, Jason Cooper on drums and Simon Gallup on bass. Before I talk about the next member, I would like to say that, as usual, Simon never disappoints. I often compare him to Peter Hook, and it is easy to understand why. They sound similar and are both sublime bassists. Now, back to the final addition, and making his debut on guitar, Reeves Gabrels, who did a fine job considering the nerves must have been jangling during the recording sessions. I am unsure whether the other returning member, Perry Bamonte, is featured on the album, but he has most certainly been performing live. The new album, ‘Songs of a Lost World ‘, is a return to their former glory creatively and musically, and the title reflects the themes and inspirations behind the music.

Can they improve on the next? Hopefully, there is another album in the offing, but they will have to do something extraordinary to beat this one. The Cure could have settled for playing albums in full during anniversary years or playing their greatest hits, as it is more than enough to satisfy the masses. However, they chose to dedicate themselves to creating fresh material, a decision that paid off. Hopefully, it isn’t the end of their recording days, and they are given time to work on it as they please, but if it is the final record, then the 16 years of waiting were worthwhile.

Song recommendations: ‘I Can Never Say Goodbye’, ‘Endsong’, ‘And Nothing is Forever’

9/10

Week 44: Tyler the Creator- Chromakopia

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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’

7/10

Week 41: Coldplay- Moon Music

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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.

Song recommendations: ‘GOOD FEELiNGS’

5/10

Week 40: Shed Seven- Liquid Gold

~ honestopinions19 ~ Leave a comment

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’

10/10