This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.
The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.
I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.
I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.
I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.
Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’
Niall Horan’s ‘Dinner Party” was not about big pop hits, but rather the main theme of romance and home. It is calmer than “The Show”, but it shows a level of maturity and self-assurance.
The album begins strongly with ‘Tastes So Good’, which is energetic, and then the title track expresses how he met his significant other. The more laidback yet heartfelt tracks are ‘She Gets It from Her Mother’, ‘Better Man, and ‘Little More Time’, showing that Niall is now comfortable and sincere with his writing.
The only negative I could find was with ‘Monochromatic’, yes, it may match the record’s overall sound, but it lacks the emotional impact and is less catchy than the others. It simply blends into the background.
The album keeps up that warm fuzzy feeling into the second half with tracks ‘Flowers’, which is easy to enjoy, ‘Boys Are Fun’, which is playful, and ‘Pretty’, which stands out for its great guitar work. The record ends on the melancholic ‘End of an Era’, which was out of the blue.
It’s not his best work, but the writing is great and heartfelt, focusing on raw honesty rather than showboating. It may not be better than ‘The Show’, but it certainly grows on you, and the more you listen, the more beauty is revealed in the songs.
The songwriting is exceptional, and to be honest, I wasn’t expecting such a mature album.
Song recommendations: ‘Tastes So Good’, ‘Dinner Party’, ‘Pretty’
I was delighted to see Drake knocked off after that atrocious album last week, and pleased to see Maisie Peters do it. I enjoyed her last record, and even though “Florescence” is an okay album, it feels like a step back from “The Good Witch”. The songwriting and wit are still sharp as ever and, of course, observational, which is what she is really good at considering her remote surroundings during her childhood, but this record doesn’t reach the heights of the previous effort.
Tracks like ‘Kingmaker( ft Julia Michaels)’, ‘Audrey Hepburn’, and ‘My Regards’ showcase her clever lyricism and memorable characters. Unfortunately, the majority of the record is less urgent than ‘The Good Witch’; I loved the intensity and cinematic nature of that album, whereas ‘Florescence‘ is a gentle stroll through Hampstead Heath during the day. However, some of the tracks like ‘If You Let Me’ (ft Marcus Mumford), and ‘Nothing Like Being in Love’ show maturity, but they don’t keep the listener’s attention. Like most of the album, the hooks don’t land, and the majority of the tracks all blur together, in stark contrast to her previous album. You would be hard pushed to find a fan favourite.
What I will say is that the record has strong, reflective songwriting, but it lacks the tension and ambition that made “The Good Witch” successful. It may be more mature, which isn’t a bad thing, but it lacks excitement and energy.
The songwriting is impressive, the tracks are easy to listen to, but your attention wanders too often. Unfortunately, it was a significant step back from her best work.
Song recommendations: ‘If You Let Me’, ‘Audrey Hepburn’, ‘Nothing Like Being in Love’
Before we explore “The Essential”, let us take a moment to remember why Michael was more than just a pop star. The guy revolutionised music videos into a cinematic experience; he blended pop with several genres, including rock, funk, soul, and dance. His songs are still played on radio stations, streamed,fill dance floors, and feature on playlists even now.
He began performing with his brothers in Jackson 5 before becoming the “King of Pop”. He then went on to create one of music’s most influential catalogues. His hits were not just merely popular; they became embedded in popular culture.
“The Essential”, released in 2005 and featuring his strongest collection of songs, has been reinvigorated by the recent biopic “Michael”. Indeed, looking at the charts, I can see several of his albums inside the top 20. This particular record covers all bases: the child prodigy, the disco innovator, global superstardom, and the artist who mixed real emotion with showmanship. As you will discover in the review that follows, the classic that stands above all for me is ‘Beat It’. A point that proves why Michael was unstoppable during his short but impactful life.
Disc One:
I Want You Back:
What a great beginning to the Michael Jackson story. Even as a kid, playing with his brothers in the Jackson 5, his vocals stood out. You still feel the energy after all these years.
ABC:
Not one of my favourites. I find it far too cheesy and lacking lyrically.
The Love You Save:
One of the Jackson 5’s unsung hits that deserves more attention. His vocal ability at such a young age is mind-blowing, backed up by a great groove.
Got to be There:
A softer and more emotional part of Michael’s vocal range. He delivers with conviction.
Rockin’ Robin:
A fun track, but again, too cheesy for me.
Ben:
Anyone remember this? I can honestly say I didn’t until I heard this compilation. An emotional and simple track with a surprising sense of maturity, and his vocals add tenderness.
Blame It on the Boogie:
Always loved this dance song since I was a youngster at birthday parties, including the dance moves. A track that never lets go of that uplifting tempo.
Shake Your Body (Down to the Ground):
More explosive disco energy, and another one I used to skank out to back in the day. This was the beginning of his superstardom.
Don’t Stop ’Til You Get Enough:
This was the moment when Michael stepped into his role as a solo icon. It has falsetto vocals, displays confidence, and has a sublime groove.
Rock with You:
A smooth song that is almost perfection. It just glides with ease from the outset.
Off the Wall:
It may sound sharp, but the production of the title track from that album is stylish and relaxed. It captured the wave of late-70s dance perfectly.
She’s Out of My Life:
One of his more vulnerable vocal performances. Instead of letting his vocals sound absolutely heartbreaking, he holds back a bit, which actually adds more emotion to the ballad.
Can You Feel It:
You may remember a late-90s dance track about what someone would like with a chimney on them? Well, this is the track that’s sampled. An uplifting, almost spiritual disco track that’s big and powerful.
The Girl Is Mine:
One of the underrated tracks on “Thriller”, but you can feel the chemistry between Michael and The Beatles legend Paul McCartney.
Billie Jean:
Another floor filler, and continues to be so. One of the best basslines in pop, accompanied by Michael’s hypnotic vocals.
Beat It:
I love this track. Always have. Therefore, it’s my favourite track from the collection. This is one of the greatest pop songs ever recorded, never mind being Michael’s best. I love how it effortlessly blends genres. You got the aggressiveness of rock over catchy pop.
From the intro, you can feel the tension building, and then the drums come crashing in with power. Michael’s vocals follow the energy of the instrumental. Every lyric lands, and the chorus explodes without warning.
Then we have an exemplary guitar solo by the late, great guitar icon Eddie Van Halen to bring even more joy to the listen. The solo is ferocious, taking the track beyond a generic pop song. Eddie may show off his skills, but it’s right for the track, rather than over the top.
‘Beat It” is just one of those timeless tracks compared to a lot of big hits from the 80s, which now sound dated. ‘Beat It’ still sounds fresh, powerful, and bursting with colour. I love the production, its non-stop rhythm, and of course, his vocals are just…brilliant.
This compilation may be packed with hits from every section of his life until the early 21st century, but ‘Beat It’ is beyond magical.
Wanna Be Startin’ Somethin:
A restless and energetic track that sounds alive.
Human Nature:
You may remember S.W.V sampled this for their single ‘Right Here’? Anyway, this beautiful track feels soft and dreamy while still carrying real emotional depth.
P.Y.T. (Pretty Young Thing):
A bright, playful and pure pop joy song that makes you want to dance.
Thriller:
What a great ending to disc one. The ultimate party song that still sounds huge.
Disc Two:
Bad:
Michael’s confidence and attitude bring colour to the track.
I Just Can’t Stop Loving You:
A tender track, which focuses on Michael’s vocals and melody.
Leave Me Alone:
One for the lyricists.
The Way You Make Me Feel:
A warm, energetic, and easy listening track.
Man in the Mirror:
An emotional track that builds with sheer power, and Michael’s formidable vocal performance.
Dirty Diana:
This track is dark, tense, with a good rock edge and, of course, Michael’s vocal intensity.
Another Part of Me:
Upbeat, lively, and stadium-ready.
Smooth Criminal:
The sounds all fit perfectly. Definitely one of the best-produced pop songs.
Black or White:
A political track, but it isn’t in-your-face and a great guitar riff over a pure energetic production.
Heal the World:
Sincere and honest lyricism with a big sound.
Remember the Time:
A flawless groove that’s often overlooked from his catalogue. You can feel the early 90s all over it.
In the Closet:
Mysterious and hypnotic.
Who Is It:
I love the bassline over the dark and emotional track.
Will You Be There:
A huge emotional impact track that feels big and cinematic.
You Are Not Alone:
Always been a fan of this one since 1995. I still own the cassette of this emotional ballad. Michael captures the mood perfectly with fragile vocals.
Earth Song:
Another track that feels dramatic and cinematic with Michael’s fragile and then powerful vocals.
Blood on the Dance Floor:
Aggressive, sharp and full of nervous energy. Not a bad choice to end the album.
Coda:
I decided to review the European edition, because it’s the version that’s widely available this side of the world. What is great about “The Essential” is that it covers all the stages of Michael’s career, from being a child in the Jackson 5 to a disco star, pop innovator, and international icon.
Do not get me wrong, there are a fuck tonne of classics across both sections, but ‘Beat It’ remains my favourite, you know, the way it blends rock, pop, Eddie’s mesmerising guitar solo, and Michael’s vocals bouncing with the tempo. I always look forward to hearing it.
Song recommendations: ‘Beat It’, ‘Blame It on the Boogie, ‘You Are Not Alone’
I was quite a fan of “Stick Season”, released four years ago, so I was naturally looking to “The Great Divide”, but unfortunately, it is a laborious listen that depends on mood and consistency, which does not work in the album’s favour. The opener is ‘End of August’, followed by ‘Doors’, which sets a reflective tone for the rest of the record. ‘American Cars’ and ‘Downfall’ keep the tone, but do not deviate much from the album’s tempo. There are a few times that the sound is like The War on Drugs, but a tamer version of the psychedelic shoegaze band.
Of course, that does not mean the record lacks highlights. Indeed, there are a few, starting with the title track, which has a stronger emotional build, and ‘Dashboard’ has some much-needed energy. Noah, maybe, should have done more of those songs because they have a bigger, more dynamic sound.
The middle section is where the problems with the album are most evident. ‘23’, ‘Porch Light’ and ‘Deny Deny Deny’ all sound the same regarding emotion, instruments, and tempo. Although the lyricism is deeply personal, the album drags due to a lack of variety.
As the record closes out with ‘We Go Way Back’, ‘Spolied’, ‘All Them Horses’, and ‘Dan’, the running theme is still present, but there is not much change since the first listen. The album may be held together by emotional consistency, but it makes your attention waver because it all sounds the same.
The record is deeply personal with some strong tracks, but the steady pace and overall listening time makes it drag, and you feel fatigued as you reach the halfway point. Rather than an exciting journey, it just feels laborious. Very disappointed. One for the live audience to listen to rather than get them lively.
Song recommendations: ‘The Great Divide’, ‘Dashboard’
“The Weight of the Woods” is the third studio album by Dermot Kennedy, which focuses on nature imagery and true emotion and is extremely personal, foretelling what he’s observed and his own life. The record is an emotional journey that is thoughtful, delicate, occasionally heavy, yet always sprinkled with joy.
Now, let’s take a look at how the sound and atmosphere stack up:
Although the sound is simple, you are drawn in. Gabe Simon’s delicate production, which mainly focuses on acoustic instruments, gives the songs space to breathe rather than opting for big effects. The music follows the album’s title. It gives off a calm woodland vibe. That soundscape gives the impression that the tracks were recorded al fresco rather than in a studio. The opening track is a reprise of the title track, which is a strange way to start a record. Reprises are usually featured towards the end of an album.
What about Dermot’s vocals?
His voice is ,of course, the heart of the record. We hear that urgency and raw emotion, which sometimes sounds like his voice is breaking under the sheer force of his delivery. He switched up when necessary, from quiet, personal moments to intense, powerful ones, regardless of the lyric’s importance.
What are the subjects and lyricism on display?
Well, the record is predominantly about Irish landscapes, grief, reflection, and emotional endurance. Love is utilised as both refuge and weight. He addresses personal growth and identity. Naturally, songs like ‘Funeral’ and ‘Blue Eyes’ focus on dealing with loss and learning to heal, whereas other tracks address more thoughtful and quieter moments.
What are the standout tracks?
Honest: The most emotional song on the entire album. Here, Dermot adopts an urgent yet vulnerable tone as if he is sharing a confession.
Refuge: This is like a personal yet tender lullaby. It expresses that even in the midst of chaos, love is a safe place.
Funeral: A track that I mentioned earlier is heavy on emotion. The production synchronises with the subject of confronting grief.
Endless: Another track you may have heard before the album’s release( the other being the aforementioned) is extremely haunting, exploring everlasting pain and unresolved feelings.
Sycamore: This track explores real places in Kennedy’s life. The closest track tied to his identity and home.
The Only Time I Prayed: A song of familiarity to Kennedy’s earlier work, displaying spiritual reflection and personal storytelling. The penultimate track is bittersweet, reflective, yet quietly devastating.
The Weight of the Woods: The opener was the title track reprise, and the closer is the title track in its entirety, highlighting the record’s key theme of emotional burden and growth.
Strengths:
Strong thematic connections interwining nature and emotion. Vocals are powerful and vulnerable. Consistent and immersive atmosphere. Personal and thought-provoking lyricism based on real experiences.
Weaknesses:
The tempo lacks variation. Some tracks sound the same.
Coda:
We won’t find many chart-friendly tracks on “The Weight of the Woods”. To be honest, Dermo has never been about that. He likes to draw the listener in with sobering lyricism over melancholic sounds, and once again, he focuses on raw emotion. This album is more about the journey than picking out anthemic songs. It may be deeply human, but there are glimpses of hope. It may well be yet another very sobering record from Kennedy, but there is beauty in melancholy.
Song recommendations: ‘Sycamore’, ‘Endless’, ‘The Only Time I Prayed’
“How Did I Get Here?” is the third solo album by Louis Tomlinson. It features upbeat anthems and is thought-provoking. It further shows how he has evolved from his days in One Direction with meaningful lyricism and catchy songs.
Let’s now address some of the key tracks:
Lemonade:
Well, if you have not heard this, where have you been? It’s been played heavily across the airwaves. The opener features groove-heavy guitars and an upbeat, summer-vibe melody over breezy pop.
Palaces:
My absolute standout on the record. It’s packed with indie-rock energy, with reflective lyrics that address fame and relationships. You can tell how much indie influences his sound.
Dark Light:
The most emotional track on the album. This acoustic ballad discusses vulnerability, grief and loss.
Imposter:
This one reminded me of Empire of the Sun’s music. It addresses self-doubt and identity over atmospheric soundscapes and pulsating bass.
Sunflowers & Lazy (Two tracks):
Upon hearing these, I had to check to see who the producer was, because I was sure it was Tame Impala’s Kevin Parker. It wasn’t, but they had that bright psychedelic rock feel synonymous with Tame Impala.
Lucid:
The album closes with a gentle yet melancholic soundscape that ties back to the record’s title theme.
I prefer “How Did I Get Here” to his previous album. It shows another confident step forward, with its craft, varied emotions, new soundscapes, and meaningful lyricism. I didn’t see much mainstream pop on display, but indie rock, lo-fi, and psychedelia. Tracks like ‘Palaces’ show that he’s starting to settle as a solo artist. The album is a fine balance of uplifting and reflective tracks that keep the listener interested.
Song recommendations: ‘Palaces’, ’Sunflowers’, ‘Lucid’
Everyone has been anticipating the release of “The Life of a Showgirl” to determine if Taylor’s engagement has made her lose her creativity, as she might be less likely to criticise ex-boyfriends. The album promised so much, but what I heard was certainly calmer, yet at the same time, quite underwhelming.
It feels like a step backwards from her previous work, lacking the emotional depth and creative spirit we saw earlier in her career. The title suggests something bright, but the record lacks any energy to be considered “bright”. Instead, what we get is Taylor writing an album for the sake of it.
The opening track is a burst of energy that promises an exciting journey. It’s uptempo, with an infectious bassline, and most importantly, it’s original. The track narrates Taylor’s salvation and her blossoming love with Travis Kelce. However, this energy and originality are not sustained throughout the record.
The subsequent tracks lack the depth and musical creativity that the opening track hinted at. ‘The Fate of Ophelia’, ‘Opalite’ offers a glimmer of something more with its sparkling grooves, but fizzles out.
It becomes quite clear from ‘Father Figure’ and ‘Eldest Daughter’ onwards that the album focuses on her ego rather than her growth as an artist. She tries to portray herself as an underdog on ‘Father Figure’ as she did in her younger days. But it just does not work anymore. Her popularity has soared since those days, so she is far from the “underdog.” As for ‘Eldest Daughter,’ well, I am not convinced; she wanted to write this. She is talking about online culture, but it does not feel genuine; rather, she has been coerced into writing about it.
Then, we have the tone-deaf tracks ‘CANCELLED!’ and ‘Wi$h Li$t’, where she attacks her critics, but the song does not land as well; she lives a privileged lifestyle now.
It does not get better, I’m afraid. ‘Actually Romantic’ takes a vicious swipe at Charli XCX (For the record, I do not like her, either), and then ‘Wood’ lacks the charm and wit to be cheeky pop, which appears to be à la mode. She tries to jump on the bandwagon, but does not offer anything fresh. The lyricism alone shows you that she did not feel comfortable attempting to follow the trend. It just is not her style of writing. Probably another attempt from the people above her trying to control her sound. Corporates should leave the artist to use what suits them.
Unfortunately, the record lacks any insight into the “showgirl” persona that the title suggests. Instead, we have pettiness and tone-deaf affirmations. More of the same, really. Her ego has got in the way of her emotional storytelling, which is still within her soul.
Taylor has the world at her feet, and she had the chance to explore new avenues and push the boundaries, but it feels more like an opportunity to make money. It lacks any artistic flair or emotion. Even her partner in crime, Sabrina Carpenter, could not rescue it. Hopefully, she regains her creative edge on the next album.
Song recommendations: ‘The Fate of Ophelia’, ‘Actually Romantic’
Welcome to the review of Biffy Clyro’s tenth album, “Futique”. Astonishingly, the band have been around for thirty years. My introduction to them was way back in 2010, as I suspect is the case for the majority of us. The record is once again an album that’ll lend itself to a headliner at a festival like Download or their local TRNSMT as they look out to thousands on Glasgow Green. Not only that, but they also have their own tour in vast arenas like the Hydro. In a world that is frequently bleak, Biff shines a light with a record full of headbangers, momentarily taking us away from the gloom.
The record features 11 standard-sized songs. The opener, which many of you would have heard on their current tour, at festivals, and on the radio, ‘A Little Love’ delivers fierce energy over a positive message. The band have been quiet for four years, which is their longest lull to date. Many wondered if they would return after “The Myth of the Happily Ever After,” but instead, the band spent a period of reflection, dealing with personal issues, and James Johnston was unfortunately confined to his bed. Simon Neil and the Johnston brothers, James and Ben, bring this into a sharp focus on “Futique”, albeit mainly over the kind of rock we know them for. As with any album, there is the odd downtempo ballad thrown in.
What is interesting about ‘A Little Love’ is that, although it is unmistakably a Biff track, it has more of a pop element to their usual raw sound. Despite the cleaner sound, it does not detract from the fact that it boasts excellent lyricism and a catchy chorus that’ll be belted out when they perform it.
The band have come a long way since being teenagers plying their trade by learning Nirvana songs in a pokey garage. However, that spirit hasn’t been left behind, as evidenced in the second track, ‘Hunting Season’. A track that calls out anyone who tries to be a people-pleaser. The track reminds me of Muse, for their rebellion, and The Hives, for their confidence, but the band still maintains its identity—an anthem for those who wish not to conform and remain true to themselves.
’True Believer’ tells a story of being a band member and what it’s like returning to familiarity after a lengthy period. The individual in question is frontman Simon Neil, who realises that being in a band with the brothers is what he still wants to do. The production itself features xylophones and a more complex style of drumming.
Of course, as with every album, there is the obligatory ballad, and the band’s one is the aptly named ‘Goodbye’, where they bid farewell to their latest era, where James ended up bedridden through mental health, as mentioned earlier in the review. The track also addresses the bad habits of killing time while being in the band.
The track is followed by the more upbeat ‘Friendshipping’, where romantic and platonic relationships are at the heart of the matter. Of course, that is balanced by ‘A Thousand One’, where mistakes lead to the end of a relationship, and then another ray of sunshine enters with ’Two People in Love’. That one is self-explanatory.
This is Biffy in their domain, where they show confidence and are more than happy to share their life experiences, including their personal struggles. The record does not have the best start, but that is more a result of the production rather than the exemplary songwriting.
However, as usual, they return to form as the album progresses. What is refreshing about ‘Futique’ is that Biffy Clyro have not phoned it in to get money out of the fans, but rather have thought it all through and released a record that is more than a match for their back catalogue.
Song recommendations: ‘Hunting Season’, ‘Two People in Love’, ‘True Believer’
No need for an introduction, so let’s get straight into it. The opener is ‘Opening’, where Ed adopts one of the key things that propelled him to stardom: rapping. Ed talks candidly about how he feels in a precarious place with his career, and frictions are occurring behind the scenes. The vulnerability contained within the lyrics and the flow shows that he is concerned by the events, and does not want them to reappear from his past. This does not set up the rest of the album, as you will find out as you read on.
Ed sticks with the tried and tested material for which he is known, and has so far borne fruit for him. ‘Opening’ seems somewhat out of place. His latest single, ‘Camera’, is a typical Ed track, where he discusses finding an old phone that evokes memories of conversations with all his exes, as well as conversations with his friends who are no longer with us, such as SBTV founder Jamal Edwards. A channel that championed Ed’s rise. The rest of the song delves into his personal memories with his wife, Cherry, rather than reflecting on the past conversations mentioned earlier.
New tracks like ‘In Other Words’ are aspiring to be ‘Perfect’, and my favourite ‘The Vow’, a touching ode to his wife, is reminiscent of ‘Thinking Out Loud’. I also love the uptempo of ‘A Little More’, with the sinister lyricism about hating your exes, and Ed showing little empathy towards them. The lyricism attempts to be humorous, but I can imagine it will not resonate with the Generation Z and below crowd.
Ed momentarily steps into the unknown, and that is where he showcases his versatility with tracks like ‘Azizam’, which combines a club track with Middle Eastern instruments. On ’Sapphire’, he collaborates with the Punjabi superstar Arjit Singh, and he even combines English vocals with Punjabi. He also teams up with Jayesh Kathak for tabla rhythm on ’Symmetry’. Ed shows that, despite being out of his comfort zone, he is willing to throw himself into these new avenues.
It was refreshing to see Ed collaborate with Indian, Khaliastani, and Iranian artists. Despite his claim to be apolitical, this collaboration seems to convey a defiant message that we are all equal, and it sends a pointed message to the far-right nonsense we are currently witnessing. Who cares if his songs preach love? That is exactly what we need more of at the moment. It is also a welcome escape from current affairs.
The final track ‘Heaven’ reminds me of Bon Iver, and I believe Ed has mentioned he is a fan of theirs, so it is not surprising to see him adopt their vocal effect for a second time (I cannot recall which album it was utilised before). Although I would have preferred that he ended on ‘The Vow’. It is such a sweet love song.
The record shows a more personal storybook about his struggles with fame and the music industry, but Ed, quite rightly, also revisits an old path. The last two albums were very heavy, considering what happened to his wife and the deaths of his friends.
He did express that he wanted to make a more upbeat record because of the last two. Hopefully, on future albums, we will see Ed do more songs exploring the Middle East. As for something more personal than he has yet to attempt? If he wants to do that, then that’s up to him. Regardless of the subject, it is likely to reach number one due to his status. Taking a risk in that sense will pay off.
Song recommendations: ‘The Vow’, ‘A Little Bit More’, ‘Symmetry’
Honest Opinions 