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’
He titled it “The Death of Slim Shady” perhaps because he anticipates his alter ego will face repercussions for the controversial content of his latest album.
Eminem is like marmite. You either love him or hate him. I am in the former category. I believe he has retained the same magic he had in his prime. He had a period of lull until 2010, when the fire in his belly reignited, and he stopped catering to mainstream pop.
His blend of dark lyrics and infectious choruses has always been his strength, especially on “Marshall Mathers LP 2,” which resembled its predecessor and the 2011 album he made with Bad Meets Evil.
Comparing to his previous record, “Music to be Murdered By”, one can’t help but notice Em’s shift in focus. He seems to be more determined to be the fastest rapper around, a departure from his previous style that many fans have come to love.
I may have mentioned in the earlier review that Slim Shady was making a comeback, but this album definitely solidifies that statement. This record embodies his alter ego from his early days, where he simply doesn’t give a fuck who he offends and goes after those who have pissed him off.
Who didn’t love Slim Shady? His alter ego was a breath of fresh air for rap and music in general at the time. Suddenly, we had an artist who was wicked, heartless, and offensive, yet with a hint of comedy. Everytime his words hit the microphone, he caused controversy.
Eminem knows that his early records would be considered controversial in today’s culture. With “The Death of Slim Shady”, it seems like he is attempting to address that by revisiting his past and reflecting on the most controversial aspects of Eminem and Slim Shady.
No one is off-limits on this record. Em takes shots at and mocks a variety of individuals and groups, including trans, disabled, and dwarfs, as well as politicians, fellow musicians, and the late Christopher Reeves. Eminem challenges Slim Shady, the alter ego, on why he targets these individuals and groups. He reminds Em that his controversial nature initially propelled him to success.
Eminem questions why he was so controversial, and now, as a man in his early fifties, he is also in turmoil over whether to remain that way or be a bit more sympathetic.
As the album reaches halfway , Eminem confronts Slim Shady and shoots and kills his evil alter ego. The question of whether it is all in jest remains, as he vows revenge for those he has annihilated on wax in the past. His lack of mercy for Machine Gun Kelly is evident, taking him out without hesitation. But beyond the personal drama, this album has a significant impact on the music industry. It’s a moment that will be remembered, a turning point in Eminem’s career. Therefore, I do not believe that his alter ego is six feet under.
My favorite is ‘Evil’. This is not for the faint-hearted. It showcases Slim Shady at his peak with controversial verses and impressive delivery.This is Slim Shady at his peak with his delivery and controversial verses.
In the song ‘Lucifer,’ Slim Shady is once again courting controversy by comparing himself to Satan. The song begins with Eminem realising that he needs to eliminate his alter ego because that aspect of his personality will not be suitable for his career in today’s world.
Guilty Conscience 2’ is where Em will kill Slim Shady because he has had enough of him and realises he is bad for his career. Slim Shady,a persona created by Eminem, goads him in the track, reminding him that through Slim, he had the power to say what was on his mind without thinking about the consequences. This relationship between Eminem and Slim Shady is complex, with Slim Shady representing Eminem’s darker, more controversial side. Angered by the constant goading, Em shoots and kills Slim. However, he then wakes up to realise it was just a dream. From here on out, the rest of the record was Em taking control and the end of Slim Shady. Returning to an earlier paragraph, is this the end of Slim Shady and a more caring side of Eminem? I do not think so. Expect Slim Shady to return on the next album.
I love that his personas haven’t spared snowflakes and Generation Z. We need some refreshing attitude to return to society. Of course, racism, fascism, and insulting people with disabilities are a bit far, but Eminem and Slim Shady have always been controversial. We need more controversial and outspoken artists in the current industry. If you didn’t like this record and were offended, then hahaha, too bad, Snowflake.
Song recommendations: ‘Evil’, ‘Lucifer’, ‘Guilty Conscience 2’
Billie Eilish has released another album, produced by her brother Finneas. I respect him more because he is the complete package. The latest record is titled “HIT ME HARD AND SOFT” and has received positive feedback.
The album undeniably carries Billie Eilish’s signature style but also introduces something new and distinctive compared to her previous work. It is much more chilled out, yet she displays anger simultaneously. The album has an aquatic feel. What do I mean? It’s hard to explain exactly, but it has an element of being under the sea. Billie and her sibling FINNEAS somehow churn out earworm songs that inevitably turn into hits. The chemistry between them in creativity is something to behold. Somehow, they never lose that momentum.
Whether the albums are unimaginative is beside the point. She and Finneas always bring something fresh to their music while staying current with pop trends. At least one song will always resonate with the listener somehow.
As an experienced vocalist, she has changed her style. You can hear her elongate crescendos or hold her words longer at the end of phrases. This shows that she has adapted and gives her more room to keep the listener’s attention with originality. However, there is a balance; she stays moderate with this newfound skill. There’s nothing wrong with that, but it would make the listening experience rather weird.
Recently, Taylor Swift released ‘The Tortured Poets Department,’ a record that has prompted comparisons with Billie Eilish’s latest work among her fans. Many argue that the production in Taylor’s album is ‘lacklustre’ compared to Billie’s. However, it’s crucial to highlight the unique collaborative process between Billie and her brother, FINNEAS. FINNEAS is credited with adding distinctive sounds that give the songs more depth and character. His talent for selecting standout sounds allows Billie to focus on her vocal delivery and lyrical content, with her brother leading the production. Additionally, FINNEAS occasionally contributes to the lyrics and provides backing vocals, showcasing the true essence of their creative partnership.
Of course, let’s not idealise the album too much. I might be praising Billie and Finneas, but sometimes the production needs to be less laid-back, which can make your mind wander. The lyrical content remains strong, and despite the underlying anger, the vocals match the tempo of the songs, creating a false impression of mellowness when the lyrics suggest otherwise. The young lady who currently dominates the UK singles chart with ‘Espresso’ will be releasing her 6th studio album soon, posing a challenge to artists like Billie and Taylor Swift. Sabrina Carpenter may have only recently gained attention, but she is ready to compete with Billie, Taylor, Miley Cyrus and Ariana Grande. I witnessed her growing popularity firsthand. Supporting Taylor during her “Eras” tour last year has also bolstered her fanbase.
Song recommendations; L’Amour de Ma Vie, Chihiro, Bittersuite
It’s quite an unusual title to begin the album with. Relationships, a whirlwind of emotions, are beautifully depicted in the first track of this album. ‘End Of An Era’ is a song that sparks hope and excitement for starting a new relationship and what lies ahead. With their profound meaning, the lyrics transport me to the feelings of a new kiss and the magnetic pull of two souls. I felt these emotions and more while listening to this song, which is why I found it captivating—not forgetting the warm Mediterranean Spanish guitar accompanying her.
Houdini:
This showcases Dua’s vocal skills. “Houdini” is about yearning to be your lover’s key priority before you ghost them. It is quite apt that it is named ‘Houdini’ because the late Harry Houdini used to perform magic acts where he would vanish/escape. The lyrics convey positive and negative emotions about wanting to experience a love utopia. It has powerful vocals and a catchy melody, putting it up with her best work. It still is not my favourite, though, on the record.
Training Season:
The subject matter is the same as the previous track. The song discusses how we move from improving our self-esteem to preparing for a serious relationship.
These Walls:
This is one of the standout tracks on the album. It deeply delves into the complex emotions that surface when a relationship becomes difficult. The term ‘walls’ is a poignant metaphor, reflecting the desperate attempts to salvage a relationship that’s falling apart. In essence, it’s a heart-wrenching depiction of a relationship’s decline, a song that’s sure to stir up emotions in anyone who’s been through a similar experience.
Whatcha Doing:
The song focuses on whether you want to be in control of your life or share your feelings with others. I found this to be autobiographical, as you feel that she doesn’t want to lose control in relationships because she shows too much emotion, which leaves her exposed and, therefore, she loses her power. This is something that we experience, whether it is in a relationship or everyday life.
French Exit:
It is fitting that as we reach the halfway point, the tempo drops, and the title is quite apt, as ‘French Exit’ means when someone slips out of a social event without letting anyone know they are planning on leaving. I have been guilty of these because I find them bloody awkward, and a sense of guilt kicks in if I do not stay until the end. In this case, it represents deciding whether to end a relationship face-to-face or walk away and leave things unsaid. Dua seems quite familiar with a ‘French Exit’ and depicts it perfectly.
Illusion:
You can understand why this is one of the singles from the album; it’s one of those tracks that sticks in your head. This time, the focus is on recognising when you’re being manipulated, but unfortunately, ignoring the warning signs and trying to maintain control because we want to build trust and a connection, even though we’re only seeing an illusion. A fitting title.
Falling Forever:
This track is the record’s highlight, demonstrating her exceptional vocal range and musical talent. The lyrics “Can we just keep getting better / Can we keep falling forever?” express the yearning to deepen love and sustain that feeling eternally. It’s a genuinely sublime portrayal of love.
Anything for Love:
The intro sets the scene with Dua in a lively social setting, followed by a captivating piano solo featuring Dua’s powerful vocals. Despite the initial melancholic tone, the song quickly transitions into an upbeat rhythm with a strong beat. Dua passionately conveys her refusal to settle for a love that gives up easily when faced with difficulties. This short, lively track is truly one of my favourites.
Maria:
‘Maria’ depicts an individual who profoundly impacts us and contributes to better future relationships. This is based on Dua Lipa’s personal experience, and “Maria” has evidently helped her improve her future connections. The positive influence of this individual continues to be felt in the future. I am actively seeking out songs written from this perspective, and I applaud Dua for her portrayal in ‘Maria’.
Happy for You:
The album ends with a melancholic ballad acknowledging a relationship is over, and your ex has moved on. Unfortunately, you now realise what you had that is now gone. I can guarantee most of you have taken love for granted and then had that sinking feeling once it has gone, realising that you love them more than you expressed. It feels like a punch to the gut once the realisation kicks in, which Dua conveys through the lyrics and the delivery. It is an emotional end, but another favourite for how Dua defines the feeling.
Song recommendations: ‘Falling Forever’, ‘Maria’, ‘French Exit’
Honest Opinions 