Cosmic Pop

Week 25: Noel Gallagher’s High Flying Birds- Back the Way We Came…2011-2021 Volume 1

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The best thing about doing this track-by-track review of Noel Gallagher’s High Flying Birds’ fourth consecutive No. 1 album is to recycle bits of the old reviews I have done on High Flying Birds’ previous records. Of course, my views on ‘We’re on Our Way Now’, ‘Black Star Dancing’, ‘A Dream is All I Need to Get by, ‘This is the Place’, ‘Blue Moon Rising’ and ‘Flying on the Ground’ will be my thoughts inspired by others and from Noel, himself. I found myself agreeing quite a lot with what Noel had to say on some of the aforementioned tracks, as you will find out along the way:

Everybody’s on the Run: 

Well, from the outset, you know the album will take you on a journey narrated by Noel Gallagher as different swathes of emotion wash over you. The introduction for ‘Everybody’s on the Run’ begins with a snare complete with the angelic singing of the Crouch End Festival Chorus and Wired Strings, with the guitars being played at a sweeping pace to add to the dramatic beginning. Before his vocals kick in, the song starts dropping to a nice, slow and steady pace. Noel delivers the music with a passionate yet desperate tone as he tells the listeners that this song is about holding onto love in the most testing times. The arrangement shows grandeur yet remains true throughout. The bridge reminds the listener that Noel is still very much in touch with rock n roll as it has this element, complete with the Wired Strings playing at an intense tempo. The acoustic guitars amazingly overtake the electric guitars and lead into the final chorus, where Noel delivers his message with pure emotion: a good way and a brilliant start to the album.

the Death of You and Me:

The biggest noticeable thing is that Noel uses trumpets( Actually, it’s him imitating trumpets. However, they are used live.), but it adds a grandiose sound to his credit. Many would be forgiven for thinking he wouldn’t use this method under Oasis as it is not very rock n roll. Well, you’re very much wrong about this song and the albums that followed. Noel remains true to rock n roll, and there are still elements of the Oasis wall of sound alive, and a bouncy tempo seems to put the acoustic guitars into mere significance on this track. It resembles more of a broader version of ‘She’s Electric. Unlike ‘She’s Electric’, this track is sung with mature vocals, bringing new charm and vulnerability, which shows Noel has changed his perspective on life now he is married with children ( No pun intended.), which adds to the track. The middle section is dreamy and catchy as Noel cleverly implants the harmonies of “La, La, La”, which is always a surefire winner as it is uplifting and infectious to the listener’s ear. The end section is dominated by the creeping brass, reminiscent of the jazz you hear from New Orleans as the song jauntily continues to flourish. As Noel added the infectious sing-a-long harmonies, the track would go down well when he took it out on the road, and rays of lights from phones and cigarette lighters get held aloft in unison when the introduction begins. Hopefully, we will see those moments again when High Flying Birds next go on tour.

AKA…What a Life!:

The song pays homage to Noel’s days at the Hacienda, enjoying the vibes as Acid House shook the building to the core. Noel uses a piano riff throughout, which is also a trait of a great house track that embeds itself in your memory bank and never leaves you. Noel has a matter-of-fact nature with an evil twist that’s switched onto the world air about him. As he heads into the chorus, he sings with a raised voice and at the top of his lungs, emphasising the word “life”, making it sound elongated to “liiiife”, which is the very last word of the chorus. An ear-piercing guitar solo finds its way in after the chorus, acting as a link before the verse. The guitar solo sends shivers down your spine. It’s not exactly something you would expect on a Dance-esque track. The song ends on a soft “woo-hoo” repeatedly as the music doesn’t end in a flurry, but rather a gentle come down as if you were back at the Hacienda as the last acid track is played and faded out to end proceedings.

if I Had a Gun…:

This was the biggest eagerly-awaited track from the debut album. There were guitar tutorials and even remixes since the track was leaked online during an Oasis soundcheck from their ill-fated final tour. The soundcheck may have sounded sketchy, and remember, the song was stripped back then, but now the song has lived up to expectations. Actually, no, it HAS exceeded the expectations it was burdened with. A piano and an acoustic guitar accompany Noel’s vocals as he sings in a fragile yet moody and restless tone, “If I had a gun/I’d shoot a hole into the sun/And love would burn this city down for me (or you. Depending on where you are in the song.).” A song that sounds in the same vein as ‘Wonderwall’ is complete with a slightly different chord change and melody. Haunting backing vocals add to the whole structure of the song. Electric guitars also lead us into the first chorus, where he delivers the line “Scuse me if I spoke too soon( Again, depending on where you are in the song.)/ My eyes have always/ Followed you around the room/ Cause you’re the only/ God that I will ever need/ I’m holding on/ and waiting for the moment to find me” with pure conviction, which is apparent throughout. It is also an ode to his wife, Sara. The lyrics will undoubtedly ensure the song stands the test of time (It has so far.)and remains a timeless classic long after we have all departed. Even when the instruments start to catch up with Noel and surround his vocals, he maintains his delivery and doesn’t succumb to arrogance as the song goes on. That reason alone shows that Noel deserves all those accolades and his place in music history. It also shows his maturity as he maintains his delivery from start to finish. In that sense, it might be a departure from Oasis, but it still has the sound of Oasis but is more grown-up. This song will (and has proved to be.)a hit with people who didn’t even like Oasis; it appeals to everyone across the music spectrum. It has also proven to be a crowd favourite, with the crowd singing along.

in the Heat of the Moment:

Once again, the house piano riff is back but veers away entirely from a house track once it kicks in. The chorus is very punchy as Noel sings it from the top of his lungs.

Riverman:

The opening track from the 2015 album “Chasing Yesterday” involves a count-in before surprising the listener with a space jazz guitar riff. In Noel’s own words, the song was inspired by a night out with Morrissey when he heard Brian Protheroe’s ‘Pinball’ for the first time despite growing up when the song was out. Initially, The song would be something different until he heard ‘Pinball’, and this track is undoubtedly a nod to Brian.

Lock All the Doors:

It was a song that had yet to be completed to Noel’s liking since it was first written in 1992 and featured on an Oasis demo tape with the bootleg freely available online. Noel was never delighted with the introduction, verse, or bridge that surrounded the chorus, and like ‘Stop the Clocks’ and ‘(I Wanna Live in a Dream in My)Record Machine’, he has returned to it and turned into a song that he feels is now worthy of featuring on an album and be played live. The song sounds like typical Oasis choc-full of attitude, and the guitars turned up loud. The arrogance in the song is much more reminiscent of ‘My Big Mouth’ from the 1997 album “Be Here Now”. This was one of the few songs that Noel wanted Oasis to play after that tour. This is the closest Noel has got to the Oasis sound since he embarked on his solo journey. 

the Dying of the Light:

It’s in the same vein as a Smith’s song with its melancholic sounds despite the lyrics fusing melancholy and love. It was the ‘If I Had a Gun’ moment of “Chasing Yesterday” and, indeed, an ode to his wife. It is also a chill-out moment as the listener cools off after going mental to ‘Lock All the Doors’. Whereas that song is fast, this slows down drastically, with Noel playing the chords steadily.

Ballad of the Mighty I: 

The ‘AKA…What a Life!’ track of “Chasing Yesterday” in a sense, although it does have differences. The chorus is incredibly catchy. Something that Noel mastered during his time with Oasis. Noel sounds younger than his years on that album, especially on this track. Despite all the drugs, cigarettes, and alcohol, the time has been kind to him and still given him a voice (If not more robust.) that he can use today, unlike his younger brother, whose voice started to decline after 2003. Johnny Marr also perfectly features a guitar solo on this song, which completes the song. A further note on the chorus: you will find yourself humming or singing to it.

We’re on Our Way Now:

An exclusive made for the record at Noel’s brand new Lone Star Studio, King’s Cross, London. The track is produced alongside ex-High Flying Birds Jeremy Stacey’s twin, Paul ‘Strangeboy’ Stacey. Noel has stated the song is about leaving unsaid things when you don’t get to say goodbye to someone. The song has a breakdown section reminiscent of Andreas Johnson’s 2000 track hit ‘Glorious’. It’s a folk song but done in a Noel way, with its melancholic theme and an upbeat tempo as the track goes on. It also reminded me of ‘AKA…Broken Arrow’ off the 2011 self-titled debut album. I was surprised to hear Noel return to something similar to that record. I enjoyed the strings on this and the female harmonising by Jess, Charlotte, and YSÉE. I don’t care what anyone says; those ladies make the High Flying Birds richer in sound.

Black Star Dancing:

I have heard some extremely cutting reviews of this track, but I like disco funk and enjoyed it. I will also add that it is highly elementary to play on the guitar. Nile Rodgers happened to be at the same studio when High Flying Birds recorded this, and if Nile says it’s brilliant, it is fucking brilliant. The man is the king of disco funk. Noel said the title is inspired by the late David Bowie’s final album “Black Star”. He also said that he was watching Top of the Pops 2 on BBC 4 on a Friday night, and ‘Let’s Dance’ by David Bowie came on, which inspired him to write this. Noel also said he was humming the bassline on a trip to Tesco Metro of what would become this track that has angered many hardcore Oasis fans who can’t accept that High Flying Birds are making music that is far more than stadium rock. Once again, I loved the female members’ vocals and how they sounded like they were from the era when disco-funk was at its peak.

Holy Mountain:

So, just like what was featured on “Riverman” from the sophomore record, “Chasing Yesterday” from 2015 (Yes, I said, “Sophomore”. So fucking what? I’m writing this, not you.) We hear a horn section featuring. This was also the lead single to promote “Who Built the Moon?”. It’s a bit bubble gum pop but is exceptionally catchy. You will get the chorus stuck into your head.

A Dream is All I Need to Get by:

I remember hearing this when I acquired it for DJing, and I was taken aback by how different it was to ‘This is the Place’ the EP from where it is from. You can hear twinkling castanets accompanied by Noel’s acoustic guitar and haunting vocals; the song grows and gets grander as you enter the chorus. Of course, the track is inspired by the Smiths and particularly by Noel’s good friend Johnny Marr. The song is chilled out and dreamy. It also sounded great live when High Flying Birds recently performed at the Duke of York Theatre, London.

This is the Place:

The track name came when he looked at fellow Mancunian Tony Walsh’s poetry book ‘This is the Place’. Noel asked him if it was okay to use the title, and Paul felt honoured. The song is the leading track off the EP with the same title and the second part of the “Wait and Return” EP series. You can tell that Noel has followed on from his experience working with David Holmes by making music he likes to listen to and turning more experimental as he goes on the journey with High Flying Birds. Any songs like this wouldn’t have been welcomed in Oasis by a specific member and the narrow-minded fans who only expected a particular type of sound. This track is hugely psychedelic with spacey synths, bongos, piano, a guitar lick that gets in your head, superb female vocals (Especially by YSÉE.), and something that former Creation Records label mates Primal Scream would have put on an album in the early 1990s. You could say it was inspired by Noel’s nights at the Hacienda.

It’s a Beautiful World:

It’s incredible what effects you can use in the studio. Because of the way sound effects are used to make his voice sound muffled, complete with reverb (Is that the word I’m looking for?), I haven’t heard on the live version, in the warm-up concerts, or on Later…with Jools Holland in 2018. Nonetheless, it still worked live. This track could be described as both cosmic pop and psychedelic. You have a breakdown section before the solo where the touring member, Charlotte, speaks in French (Noel said it was too late to change the spoken word when Charlotte said she mentions the end of the world. Noel did not like that and would have preferred “It is not the end of the world” to tie in with the feel-good vibes of the record.) It is also worth noting she plays the scissors on this track (Yes, that’s correct. The scissors. Fucking mental!).

Blue Moon Rising:

No, it’s not a track about Manchester City. Yes, it does have ‘Blue Moon’ in the title (Obviously.). It is another disco track inspired by Noel’s viewing of Top of the Pops 2. His vocals accompany synths and relaxed guitars. The lyrics are not up to much, but Noel has a knack for taking your attention away from that with the production (Yes, sometimes Noel can write simplistic or minimal lyrics, but hold your attention with the music.). The track is relaxed and leaves the listener open to their interpretation of the meaning behind the lyrics during the verse. Still, in the chorus, Noel shows his outstanding vocal ability as he bellows it at the top of his lungs. You can see this live as the veins bulge out of his neck. His voice has got stronger as he gets older. The way he sings at the top of his voice has yet to cause noticeable damage.

Dead in the Water(Live Rté 2FM Studios, Dublin 2015):

Well, those who yearn for Oasis love this. This track was recorded off the cuff on-air at Rté 2FM Studios in 2015 during an interview and short performance during the “Chasing Yesterday” tour. Is it completely improvised? As Noel says at the end of the track, as the presenter asks him. Well, I don’t believe him. It was far too polished to have been made up there and then, especially when you hear the keyboard solo by Mike Rowe. There’s no way Mike could have done that without getting a feel for the track. This song talks about Noel looking to hold onto a love that seems hard to recover. Apart from the whole chorus, the standout line is where he talks about having no money while looking at a photograph. Now, who can this be about? Because he had plenty of money when he met Sara. Is this Noel reaching out to someone in the past? Was it written for Louise in his Oasis days, and has been given new life? Whoever it is about, it is compelling lyrically and reminds me of the sort of song by the Smiths that would have inspired him to write this. This is classic Noel, though. He is singing with a tint of melancholy in his voice and laying his soul bare.

Flying on the Ground:

Noel best described this and took the words out of my mouth when he said this track is a nod to Burt Bacharach with a Motown twist. Because it is. We know Noel has given nods to Burt in the past, but not yet with High Flying Birds until this exclusive track. A member of Noel’s team told him to put this out as he always plays it in the Sour Mash office. Thank God, whoever that person is, because I loved how Noel fused Motown and his love of the great songwriter Burt Bacharach. Again, the female members stand out, and it is refreshing to see Noel letting them showcase their vocals alongside him—a feel-good way to end this latest record by Noel Gallagher’s High Flying Birds.

Song Recommendations:  This was extremely tough as they are all strong tracks, but after much consideration, ‘A Dream is All I Need to Get by’, ‘Flying on the Ground’, ‘Dead in the Water’

9/10

Week 21: Paul Weller- Fat Pop (Volume 1)

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I have waited ages to listen to and review another Paul Weller album. I was delighted to have found out that he worked on it during the original lockdown. Paul told Charlatan’s Tim Burgess that he was bored and needed something to do. He also told Tim this might be his final album (let us hope not.). It’s great that some artists took the opportunity to be productive while isolated last year. Funnily enough, just as he started work on this one, his previous record, “on Sunset,” was not far from being released. The album begins with ‘Cosmic Fringes’ which sounds like electro-pop straight out of the 80s. You know, bands like Roxy Music, Heaven 17, or the Human League would have done. The end catches you by surprise because it stops without any warning. That sudden ending would last until the third track. From then on, the tracks would fade out.

‘Glad Times’ was like Paul went into a time machine and returned to the studio with the Style Council, and ‘Testify’ is a blues and gospel track with flutes. ‘Cobweb Connections’ is a sublime acoustic song, and ‘Moving Canvas’ is like hearing Paul playing songs from the “Stanley Road” era. I didn’t find much Jam-inspired music in there, though.

The album is just a mix of several genres; you never know which way Paul will take you with it, which will keep your ears entertained. It’s great when a record is made that way. You don’t want a predictable album; you want something that will surprise and differ from the track you just heard to keep your interest. The cover and the name certainly had me fooled. I was expecting an album full of cosmic pop or psychedelic. Even the title “Fat Pop (Volume 1)” screams that the record will be focused on those two genres. It’s more like a trip down memory lane with influences from the Style Council, the Paul Weller Movement, and everything after 1992. As I said earlier, I didn’t notice anything the Jam might have done. It also has Volume 1 at the end of the title. I would like to know what volume 2 will be like.

Now, as I said earlier, the album is spontaneous and will keep your ear, but at the same time, if you do not find that concept interesting, you might lose interest as it might start to annoy you. Personally, that’s on you because it didn’t annoy me in the slightest. I loved the way the record was spontaneous. If you enjoy dipping your fries into your Strawberry milkshake (Thanks, Siân. Watch this space on her. She might well be presenting a radio show soon, and trust me. Her taste in music is eclectic.), then you will enjoy how this album works. Many may argue that the tracks on “Fat Pop (Volume 1)” simply do not work without structure due to its spontaneous nature. Well…I liked it, and it’s entirely different from a Paul Weller LP.

Despite how the album is structured, either to your satisfaction or not, there is no denying that Paul still has that fire burning to be creative after a 44-year career. One minute, Paul is in the 60s playing with the Rolling Stones, and the next, he’s back in the Style Council with songs like ‘Glad Times’. That is how Paul approached every session with spontaneous songwriting. It certainly makes for an exciting experience when you listen all the way through for the first time. You cannot knock it because Paul Weller is far from finished with business despite what he told Tim. How many albums are there left in him creatively? Who fucking knows. Going by this, he still has plenty more on the way. The only thing stopping Paul is if he decides to retire of his own accord.

Song recommendations: ‘Glad Times’, ‘Cosmic Fringes’, ‘Testify’

8/10

Week Forty-Eight: Noel Gallagher’s High Flying Birds- Who Built the Moon?

~ honestopinions19 ~ 2 Comments

1

Here is the track-by-track review of the third album:

Fort Knox:

 Noel has gone on record saying that this track was written for Kanye West, but he thought it was so good that he felt he deserved it more than Kanye. Anyway, the track has repeated lyrics and guitar chords, albeit when he starts repeating, “You’ve Gotta Get Yourself Together”. This track would be good as an introduction to the forthcoming concerts or great as an alarm clock (Although I doubt you would wake up to such smooth music.) I like the album after just one track and am pleased that David Holmes has sent Noel far out compared to the trademark Oasis-style wall of sound. Will Oasis fans who are narrow-minded like this? Probably not, but they’re fucking idiots, anyway. More on that in the overall review.

Holy Mountain: 

So, just like what was featured on “Riverman” from the sophomore record, “Chasing Yesterday” from 2015 (Yes, I said, “Sophomore”,. So fucking what? I’m writing this, not you.) We hear a horn section featuring. This is also the lead single used to promote the record. It’s a bit of bubble gum pop but is exceptionally catchy. You will get the chorus stuck into your head.

Keep on Reaching: 

David took Noel out of his comfort zone with this track with some soulful vocals followed by an instrumental section that could only be described as funk inspired. The beginning also features some excellent keyboards and a ballsy kick drum.

It’s a Beautiful World:

 It’s incredible what effects you can use in the studio. Because of the way sound effects are used to make his voice sound muffled, complete with reverb (Is that the word I’m looking for?), I am still waiting to hear this on the live version, in the warm-up concerts or on Later…with Jools Holland last month. Nonetheless, it still worked live. This track could be described as both cosmic pop and psychedelic. You have a breakdown section before the solo where the touring member, Charlotte, speaks in French (Noel had said that it was too late to change the spoken word when Charlotte informed him that she mentions the end of the world. Noel did not like that and would have preferred “It is not the end of the world” to tie in with the feel-good vibes of the record. Also, more on that later.) It is also worth noting she plays the scissors on this track (Yes, that’s correct. The scissors. Fucking mental!).

She Taught Me How to Fly: 

This track is a weird one for me. Although it isn’t my favourite, it certainly is one of my favourites. I love the lyrical content, and I fucking love playing it on the guitar. This ode to his wife, Sara, has a sound that is very close to New Order. Some may disagree, but this track could easily have been made for New Order. It has a bass style similar to that of New Order’s former bassist, Peter Hook. Noel has headed back to the Madchester days with this.

Be Careful What You Wish for: 

This track was written as a message to his three children on what to heed and learn from life as they grow older and more aware of the world. Again, this track is far out for Noel, and it is a continuous melody throughout, albeit with a slight change in the chorus. This is probably the most anti-anthem song he has done since “(Get Off Your)High Horse Lady” with Oasis on their final album from 2008, “Dig Out Yer Soul”. I have heard this song live, which is indeed a song that cools down the audience. I think he will only play this live for the children. The message conveyed is the preaching you would hear in Speakers’ Corner. If I recall correctly, he said this song was born after he walked through Speakers’ Corner in the summer of 2017.

Black & White Sunshine: 

This is my favourite off the record, but that changes every day. Albeit, this track remains at the forefront of my heart and mind. I love the message conveyed and the upbeat feel of the track. The vocals delivered with a punch the air passion. This is Noel’s “Fuck you” track for all those who want to bring evil to the world. Is this as close to the Oasis wall of sound on the album so far? Not for me. It is still a track that Noel would only sometimes do, although in some reviews I have read, they believe that to be the case. No matter what you might think, this track leaves me feeling optimistic and cheerful.

Interlude (Wednesday Part 1): 

Why, oh why, do artists/bands have these? Oasis was very guilty of having interludes, but they are nothing more but throwaway tracks chucked onto a record because, who the fuck knows? Utterly pointless. Just throw on a track that didn’t quite make the cut. At least, it will be a completed song. Noel has said that the interludes featured on the record are, indeed, songs that are uncompleted, that he may revisit at a later date. The song features acoustic guitar, drums and bass before being accompanied by synthesisers. Nothing much else to say.

If Love is the Law: 

The first track to feature another artist on the record in the shape of Noel’s good friend, Johnny Marr, who plays guitar and harmonica. This track has a Smiths sample (I think Johnny is playing “Hand in Glove” on the harmonica, I’m not entirely sure, but it’s definitely from a Smiths track.), so how appropriate Johnny features?

It is worth noting that Noel’s estranged younger brother, Liam co-wrote a song with a similar title with Chris Helme of the Seashorses (It went on to be a hit in 1997 and is one of the songs synonymous with the band.).

the Man Who Built the Moon: 

Wow. This is the title track, albeit the name is slightly changed. I love this track; it is majestic and features haunting keyboards, complete with lyrics that appear to be less of a song and more of Noel narrating a fable. This is very much a departure from Oasis, as I think the song could be used for a Science-Fiction film like Star Trek or some insane film about space by Steven Spielberg. The chorus is littered with horns, which adds to that whole feel about it.

End Credits (Wednesday Part 2): 

Ah, dear. Here we go again. Although it is an improvement from the first part, interludes do not belong on an album. The keyboards are very angelic, though. This is the end of the standard album, but I am reviewing the Deluxe edition, complete with the Japanese bonus track.

Dead in the Water: 

Well, those who yearn for Oasis will love this. This track was recorded off the cuff on air at Rté 2FM Studios in 2015 during an interview and short performance during the “Chasing Yesterday” tour. Is it wholly improvised, as Noel says at the end of the track as the presenter asks him? Well, I don’t believe him. It was far too polished to have been made up there and then, especially when you hear the keyboard solo by Mike Rowe. There’s no way Mike could have done that without getting a feel for the track. This song talks about Noel looking to hold onto a love that seems hard to recover. The standout line, apart from the whole chorus, is where he talks about having no money while looking at a photograph. Now, who can this be about? Because he had plenty of money when he met Sara. Is this Noel reaching out to someone in the past? Was it written for Louise in his Oasis days, and has it been given new life? Whoever it is about, it is very powerful lyrically and reminds me of the sort of song by the Smiths that would have inspired him to write this. This is classic Noel, though. Singing with a tint of melancholy in his voice and laying his soul bare.

God Help us All: 

This track features as the Japanese bonus track and was first discovered in 2007 from a studio session for, I don’t even know. It might have been “Dig Out Yer Soul”. This track was also played in a soundcheck during the ill-fated 2008/09 Tour for “Dig Out Yer Soul” during Noel’s last few years in Oasis. This song has kept much of those two versions, as you get the impression it was recorded in an empty theatre and sounded like a demo. There are rumours it was re-recorded during the “Noel Gallagher’s High Flying Birds” studio sessions in 2010 and 2011 but wasn’t pursued to feature on the final track listing for the 2011 debut album. I forgot to mention that it also re-emerged on the “High Flying Birds” Tour of 2011/12 with a new verse featured on this recording. Anyway, he plays acoustic guitar while singing about what appears to be Armageddon.

Overall: 

It is no secret that it was, indeed, Noel who inspired me to write and pick up a guitar and several other instruments back in the mid-1990s. I also make no secret while everyone else preferred Liam at school, I aspired to be Noel and have been a fan of his from my very first listen to Oasis. Once again, Noel has proved why he is a tremendous songwriter. Even taking him out of his comfort zone while working mainly in David Holmes’ home studio, Noel has made it work. David got Noel listening to some rather obscure music and even got him to play instruments Noel tends to struggle with and would only dare play live once he has played them enough to feel comfortable with. Noel was originally very disheartened and didn’t believe working with David was the right decision. David would tell him time and time again to stop writing songs that sounded like Oasis. Indeed, for “the Man Who Built the Moon”, David got him to write out 26 choruses before he was satisfied with Noel’s 27th attempt. So..back to earlier, the Oasis fans, whom I have referred to as “fucking idiots”, are mainly what I like to call the “Supersonic 2016 Generation”. They appeared after the 2016 film and could not get past how Noel’s singles for this were totally different from Oasis material and therefore proceeded to bash it and generally be narrow-minded. An artist is free to express their music however they want. Something lost on these bunch of twats. Also, going back to another point earlier mentioned during “It’s a Beautiful World”, Noel has made a record that is very much upbeat and spits in the face of the evil people in the world who want to destroy the earth. He has even said that this record was about feeling great and upbeat and taking our minds off all the bad things we hear about in the mainstream media. I would love to score this album perfectly, but the interludes are where it falls down for me. It is also perfect, and even if you don’t get it after a few listens, it will grow on you. 9/10