Downtempo

Week 32: Chappell Roan- The Rise and Fall of a Midwest Princess

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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’

7/10

Week 19: Dua Lipa- Radical Optimism

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Track-by-track:

End of an Era:

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’

9/10

Week 2: Shed Seven- A Matter of Time

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THIS is long overdue. Thirty years, in fact. It was challenging to reach the summit in the 90s because Oasis and Blur dominated both singles and album charts. Journalists used to sneer at Shed Seven and wanted them out of the picture entirely. They gave the band no love for reasons I cannot fathom. I have enjoyed the band since I first saw them perform on TFI Friday in the mid-90s on the first series of the chat/music show (I am relatively sure it was the third episode, and they performed ‘She Left Me on Friday’). The British and Irish music scene was teeming with Indie bands then.

Among others and the usual suspects, Shed Seven stood out as a band with attitude and swagger. Frontman Rick Witter oozed with confidence that cold Friday night in London. I have had the pleasure of conversing with Rick now and again, and not only does the band deserve this long-overdue accolade, but so does Rick. Just for being the down-to-earth artist that he is. “A Matter of Time” may have only been released last week, but two singles ‘Kissing California’ and ‘F: K: H’ were released late summer to tease it. Plus, the tour commenced in the autumn. This is the band’s sixth studio, and I am surprised they haven’t had a No.1 album before now. They have had a string of hits that have become anthems. Maybe it is this whole nostalgia flex that people are still on? I don’t know. The record features the likes of Rowetta, who is known for performing with the Happy Mondays, Laura McClure neé Manuel of Reverend and the Makers (She is the wife of frontman Jon.), and of course, the superb Pete Doherty (The Libertines, and Babyshambles.). Anyway, I think the only service I can give this historical moment is a track-by-track review:

Let’s Go:

BANG! The band is straight into it, like the band who owned that stage on TFI Friday in the mid-90s. No time has been wasted with the attitude and swagger. The sound is explosive, and it is quite fitting that the track is short. To contrast, the explosive rock, is a choir as the song passes the halfway point. Just from the explosive beginning, you can tell you will enjoy the ride, and it reminds me of how a gig begins.

Kissing California:

The first teaser single, released in July, has a summer vibe. It certainly is a considerable drop in tempo, as the band take it easy over drums, percussion, vocal harmonies, and an earworm hook where the band chants ‘California’. You can see why it was released as one of the singles.

Talk of the Town:

Acoustic in the verses that leads into a distorted guitar in the chorus. Again, another earworm hook with the band repeatedly saying ‘Talk of the Town’. It’s elementary, but that is enough to get into your head. The lead guitar shines on this track. Another highlight is the middle eight section that builds before the final chorus.

Let’s Go Dancing:

This track drops the tempo again with reflective vocals over a piano accompanied by strings. My favourite part is neither this nor the vocal harmonies in the chorus, but the duelling guitars performing the solo. I love that. They tend to be used more in metal music. This track also has a touch of nostalgia about it.

In Ecstasy:

You are probably wondering, “Where are the features you mentioned earlier?” Well, here is the first one. It’s Rowetta accompanying Rick’s vocals. Imagine that? It is unbelievable—so much power. However, during the chorus, Rick lets Rowetta take the lead; as you can imagine, she does not disappoint. As well as the vocals, the stage is set for bassist Tom Gladwin.

Tripping with You:

Another feature quickly follows this time with Laura McClure. Again, this romantic track brings the tempo down with a violin in the chorus. I feel sad that Laura’s vocals were far too laid back, so we do not see her shine as Rowetta did in the previous track.

Let’s Go (Again):

A quick interlude. Those who have read my past reviews will know my feelings on interludes. Rick sings about Argentina and Mexico over an acoustic with a full band.

Real Love:

The tempo picks up, again with a track that utilises synthesisers, which is a pleasant surprise. So far, we have heard the usual instruments the band uses. It adds originality to the album and shows the band are open to experimenting with the sound.

F: K: H :

The second teaser that came out in September features a gospel choir on the backing vocals over a steady tempo. You could argue that the band is trying out a bit of early ’90s Primal Scream here. 

Starlings:

As you can imagine, the video for the track features the bird species the track is named after. This one is a balance of melancholic and uplifting. I imagine this one is quite personal to Rick because the vocals and the lyrical content are the epicentre of the track. The tempo is the same as the previous track.

Ring the Changes:

It is now the turn of the drums to take centre stage. A looping guitar riff accompanies the groovy beat and will do well at the festivals in the summer this year because it just feels ideal.

Throwaways:

The longest track on the record, with the final feature of Pete Doherty. Pete tends to act as harmony for most of the song, which is certainly noticeable, but he also takes over from Rick in one of the verses. The track has it all. Full band. Rick’s vocals. Pete’s harmony. Pete’s verse. Acoustic section, and the track just evolves in every section. It is easily one of the best on the album, and due to the length, the song has time to build. It wouldn’t have looked out of place during those heady days in the 90s of that whole Indie scene.

Song recommendations: ‘Let’s Go’, ‘In Ecstasy’, ‘Throwaways’

9/10

Week 16: Metallica- 72 Seasons

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It was through watching Beavis and Butt-head and seeing Beavis wear the tee shirt I became intrigued as to who Metallica was. I have since fallen in love with ‘Nothing Else Matters’, ‘Mama Said’, ‘Enter Sandman’, ‘Seek n Destroy’ and ‘Sad but True’. I have also watched several documentaries about the production of “Master of Puppets”( their best album, in my opinion.), and Monster, which follows them during the highs and lows. A lot of arguments between the figureheads leading vocalist/rhythm guitarist James Hetfield and drummer Lars Ulrich (You know? He was once a vast talent in junior Tennis? Mixing it with the likes of Boris Becker. His dad was also a professional.). Quite a few of the documentaries put Lars in a bad light. He constantly shows up several hours after the band has commenced recording. I still think he is one of the best drummers alive, so he more than makes up for it. Anyway, the band sell out arenas and stadiums everywhere they go. They are also the main headliners at the creme de la creme of festivals. They have garnered many friendships with musicians across all genres. Even though Noel Gallagher doesn’t like their music, the band get on with him. Lars happened to do the lighting for Oasis on the “Definitely Maybe” American leg in 1995. Well, there is no better way to pay homage to this fucking fantastic band than to do a track-by-track review. I will also do a summary because, despite the fact I may wax lyrical on the tracks, the listen was wholly different in total.

72 Seasons:

One thing guaranteed with the band’s records is that you will get candid emotion throughout. The band do not hide behind a mask. The title for the title track is from a book James Hetfield read about from infancy to becoming 18, which equates to seeing 72 seasons in your lifetime. The book focuses on as you evolve, you find your identity and form your own opinions across a range of subjects rather than letting others choose your choices. This song is the audio version of it, albeit over heavy metal. Lead guitarist Kirk Hammett shines through, with James providing the emotional vocal delivery.

Shadows Follow:

Very similar to the subject at hand, but you can hear the tempo abating. It explores James’ time during rehab and how even stars like him are flawed, just like all of us are. The title is apt because even though we may fend off our demons, their shadows lurk, waiting to strike. According to bassist Rob Trujillo, this song has a Black Sabbath feel. I hear a typical Metallica song with a softer tempo.

Screaming Suicide:

This is the second single off the album and a powerful one. Although James may be talking about his experience in rehab, I also felt he was acting as a psychologist. What do I mean? He tells us all to show our vulnerability and confess that sometimes we have dark thoughts. As the song reaches the outro, James reminds us to keep moving despite those thoughts and that by doing this, we will win the war against the demons. As you may have noticed, this record focuses on James’ vocal delivery/songwriting and Kirk’s sublime axemanship. Usually, a lot of Metallica’s albums focus on Lars. However, he and Rob are ensuring the ship remains on course. Quite unusual not to see Lars featured as a figurehead on the record. Well, it is to me, anyway.

Sleepwalk My Life Away:

Kirk brings the bluesy feel to this with bombastic solos, which we have become accustomed to with him. Again, the track is focused on the songwriting.

You Must Burn!:

This is my favourite off the record, and Kirk’s axemanship blows you away. Looking at the lyrics and hearing the snarling vocals by James, you might think this track is quite sinister, but in a way, it isn’t. Yes, it has all of the aforementioned, but the more profound message is one of hope; Basically, it’s saying, “Fuck all the shit that makes you suffer. Enjoy yourself, and don’t let it get to you”. The production depicts that too. The track is downtempo before bursting into life with Kirk’s axemanship. Almost like from the deepest depths before seeing the light appearing on the horizon.

Lux Æterna:

Surprisingly, the shortest track on the album weighs in at 3:46. The leading single harks back to the band’s earlier days and is sure to be a hit with the fans on the “72 Seasons” tour, which is currently in progress. Talking to Metallica fans, when I mentioned that it was incredibly short for them, the fans were impressed with it. 

Crown of barbed Wire:

Lars gets the spotlight finally, this time with Kirk complimenting him. This reminded me of when the band used to jam out and form a song from it. Something that gets lost when you hit the studio, rather than jamming out during rehearsals. It makes it organic.

Chasing Light:

This has the classic Metallica sound. A track that gets your body moving rhythmically throughout and heading to be a crowd favourite on tour. Again, Kirk’s axemanship is glistening. If it isn’t James, then it is Kirk. 

If Darkness Had a Son:

Not a song for the faint-hearted. This one plays with your emotions and makes you feel uncomfortable. The track focuses on giving into ‘temptation’ (Well, from what James bellows out.)and knowing that the consequences could see your friendships dwindle, and how ‘temptation’ can cause harm to yourself. Another solid vocal performance by James, and of course, Kirk hitting with the solos.

Too Far Gone?:

James taps into his darkest emotions and how those demons play on his mind as he tries to find his soul. He explores how making mistakes that leave full of regret, and that is evident in the outro, ‘Too far gone, never too far gone, I’m too far gone to save, I can make it through the day, make it through the day, just for today’. As you can see, despite James expressing that he is damaged, he is optimistic he can survive another day. This would be a heavy listen if it were for something other than Kirk. Some may not like James talking candidly, but I like the idea of him sharing all this because it might make the toughest of their fans realise that we can be flawed and human. Many Metallica fans I have encountered seem to have a tough exterior, and we do not get to see the other side. The only human, so to speak, fans I know are the more casual ones like myself, who couldn’t give a flying fuck what makes a Metallica fan.

Room of Mirrors:

Another track for the excellence of Kirk Hammett. 

Inamorata:

Someone informed me that is the longest track they have ever made. The track weighs in at 11:10 when I mainly see their live shows; it is short, considering how long the instrumentation and solos go on during the live performances. This time, the whole band takes turns to show off—a pretty fitting way to end the record. 

Overall:

Last time, I reviewed Boygenius, and you may have concluded that the album was great, judging by the track-by-track review. However, I did say that that wasn’t the case regarding the record being relatively “tame” from what the band describe themselves as. Okay, I enjoyed “72 Seasons”, but it appeared chart-friendly and easier on the ear. Something I never associate with Metallica. They are always raw rather than polished. This record is more for the commercial side of music. Despite the heavy topics, listening to some of their previous albums this is much easier. A steady album that is polished. Too polished for Metallica. 

Song recommendations: ‘You Must Burn!’, ‘Chasing Light’, ’72 Seasons’

8/10

Week 14: Boygenius- the Record

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Boygenius are a rock supergroup formed in 2018 consisting of Julien Baker, Lucy Dacus, and Phoebe Bridgers. The former is the only one I have ever heard of, and I enjoy most of her material. Five years ago, the band also released their self-titled EP. They share common ground, and what makes Boygenius dynamic is their similar tastes in authors and poets. There is more than just a love of music, and unlike most supergroups, this has been formed on music and other passions to make the chemistry extra special. They also have their unique style of writing. Julien Baker is more melancholic, whereas Phoebe Bridgers, although she can sing softly, brings more energy, and Lucy Dacus brings consciousness to the fore.

Here is my track-by-track review of “the Record”:

Without You Without Them:

The opening track begins with the trio singing acapella. The trio exchanging cyphers. 

$20:

This has Julien Baker written all over it (Although I only know of Phoebe’s work, I did a little listening research.), where she gets political and her watermark guitar riffs, which, when you listen to her work, your ear picks up on the familiarity. Of course, as it is a trio, Lucy and Phoebe find a space on the track, with Bridgers doing a 90s-esque grunge rock scream, and Dacus leads the line during the fast tempo and fleshy verses.

Emily, I’m Sorry:

This song is split into two parts. The song title doesn’t fit the narrative that you should expect it to. Instead of being an audio apology letter to a specific individual, it discusses how uncertain life was during the pandemic ( depending on where you live.). You can hear Phoebe’s solo work coming through, but it also shows Boygenius working together to give it that unique sound. 

True Blue: 

This is quite obviously the turn of Lucy again. Why? Because her vocals are at the forefront, whereas Julien and Phoebe’s are more muted. This track is mellow and mid-tempo compared to what has happened so far. You can tell the band work democratically.

Cool About it:

We finally get to the acoustic song on the album with a cameo appearance from the banjo. The track could be described as folk-rock. Each member exchanges a cypher with different variations of bumping into the dreaded ex. The cyphers showcase just how talented each individual is at songwriting.

Not Strong Enough:

Just listening to this, you can tell that Sheryl Crow heavily influenced the trio. The track discusses the hotbed issue of the treatment of women (to this day, unfortunately.) within the industry. The instrumentation itself goes back to the sound more akin to ‘$20’ before developing into something more uplifting, which creates a rush of blood in your body. Synths feature on the bridge, and the strumming of the guitar with effects gives it that indie blend. I can imagine this one doing quite well on the tour. Although the lyrics are blunt, there is a sense of this becoming a tour anthem.

Revolution 0:

Another tender acoustic ballad to welcome in the second half of the album. The song has a frustrated delivery by Phoebe to match the writing. Phoebe ponders what love is and why it is called that if it isn’t love. 

Leonard Cohen:

Well, this is one of the favourite poets they all adore. The late Leonard Cohen was one of the best poets around. There is a nod to one of his tracks from 1992 called ‘the Anthem’. The track is, funnily enough, the shortest on the album, but in no terms does it mean they are insulting his memory. The band discuss the song’s meaning, which is about accepting your own imperfections. Lucy also has an Easter Egg in her verse, so listen out for that. Clue: It has already featured on the album.

Satanist:

This track features dirty and heavy riffs as Phoebe lets out a scream you will hear in many grunge songs. The track changes tempo again after the instrumental break after the bridge with Julien’s question about satanism as the song changes to downtempo and absent of guitars.

We’re in Love:

Phoebe has been taking over a bit with her songs, but Lucy steps up this time, showcasing her ability to write a specific feeling and deliver it on the instrumental. It also sees the band move away temporarily from the rock wall of sound (Depending on what your idea of “rock” is.).

Anti-Curse:

Julien’s turn, this time with a song which talks about romance. After the bridge is the best section of the song, as we hear full-on guitars with cascading drums.

Letter to an Old Poet:

By this point, I was starting to wonder if there was a democracy in the band as we heard yet another Phoebe trademark song. The track is about surrendering to what you used to be. It also has recycled lyrics from ‘Me & My Dog’, featured on the trio’s 2018 extended play. You can hear a crowd in the background. As the song gently fades, Phoebe closes with a message of hope.

You may think, by reading this, that the album is a fantastic listen. Unfortunately, I have masked that by measuring each track individually. Overall, I felt that for a band dubbed “rock”, there were many downtempo moments and many of the shoegaze side of indie. For me, the term “rock” has not been categorised all that well. There are sub-genres, in fact, many for rock, and this one falls under alternative/indie/shoegaze for me. This was more akin to an album by the XX than full-on rock. I was looking forward to hearing “the Record”, but I had to listen to it twice because my concentration wavered somewhat on the first listen. I felt it was all relatively tame for a “rock” album. There is more energy in a Phoebe Bridgers live performance than this.

Song recommendations: ‘Leonard Cohen’, ‘$20’, ‘Cool About it’

7/10

Week 50: Sam Ryder- There’s Nothing but Space, Man!

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Now, my family have always been one to watch Eurovision, no matter how crass the songs are. However, I became hooked in 2014. I felt the competition had upped its game. You were now getting more house and RnB-type songs. One year, there was even a drum n bass track by Austria or something like that. Anyway, Sam Ryder finished second (Should have been first.) behind Ukraine, who had a fucking awful song that wouldn’t have got a sympathy vote from the public if it wasn’t for the current situation. It would have finished last. ‘Space Man’ was by far the best song there. I don’t root for any nation, but Sam Ryder was robbed.

So, where did Sam come from? I didn’t know of him until he showcased his ” Space Man” song on BBC’s One Show. Friends of mine, particularly from Glasgow, filled me in on Sam and his popularity. Sam uploaded covers of popular songs to TikTok, where he gathered an off-the-scale following. I enjoyed the song, so I was looking forward to what his album would be like.

Despite his recent rise, Sam has been familiar with music. He fronted some bands, did busking and wedding receptions. He also had his own Juice bar business. 

What I liked about this record is the number of influences in his songs from Sam Fender, David Bowie, Elton John, Sum 41, AC/DC and club music. The opener is ‘Deep Blue Doubt’, and I couldn’t help but feel a Sam Fender-Esque vibe going on. The song could easily be mistaken for Geordie Sam from the instrumentation to the vocal delivery. It is my personal favourite off the album. Already a solid start and a twist of what to expect. This certainly sounds different from ‘Space Man’. The Fender horn section was missing from ‘Deep Blue Doubt’. ‘Somebody’ taps into Sam’s inspiration for funk. If I remember rightly, I thought while listening to the track; it reminded me of Nile Rodgers and Chic.

‘Tiny Riot’ is aptly named and an intriguing listen. You have the presence of Bring me the Horizon, but if they performed soul. I do not remember Bring Me the Horizon ever doing that, but this would be the result. Olly Sykes could also carry it off because of his vocal range.

‘All the Way Over’ is the first real reflective moment as he performs a piano ballad, which showcases his vast vocal range, complete with a bombastic outro featuring an orchestra. He then goes into A Day to Remember mode. Not the band at their rockiest, but more the quiet and gentle acoustic moments for his mid-tempo ‘OK’, so even though he does pick the tempo up, it is only slightly.

You may be wondering why I mentioned the late David Bowie; it’s more to do with ‘Space Man’ and Sam’s fascination with all things in the cosmos. The song is laden with space references, and David did this during his Ziggy Stardust period.

Once again, Sam has added another layer to the album. ‘Put a Light on Me’ gives you a false impression as you hear the guitar at the intro before bursting into a club dance floor filler. I, for one, was surprised to find club tracks to feature. Even if this isn’t your cup of green tea, the hook alone will suck you in.

‘Whirlwind’ wouldn’t look out of place at the Grand Ole Opry. We go from one extreme to the other as Sam brings the tempo down to a folk ballad with excellent fingerpicking on the guitar, either by him or a session musician (We will have to wait for the tour to find out.). He slightly ups the tempo with ‘Ten Tons’, where he blends funk with a piano. The vocals appear to be Sam channelling the late George Michael. The song goes in the blues direction during the guitar solo. Again, who performs that? We know Sam can play the guitar, as witnessed at Eurovision.

Sam shows even more vocal versatility as he taps into the Lumineers/Mumford and Sons/Of Monsters and Men section with the uptempo and country pop ‘More’. The tempo then drops to another folk ballad, this time with ‘Crashing Down’, which is quite apt when you consider the title, and the context. He follows that with ‘This Time’, an upbeat blues number.

I will close this review with ‘Living without You’, my second favourite, and the record closer Sam goes full-on club with this. David Guetta and Sigala feature, and I cannot see this not filling the dance floors whenever it is played. It is so uplifting—a brilliant way to end a versatile album. Sam may have been on Eurovision and a TikTok star, but he is no passing fad. Sam has proven now he is in the door; he plans to stay around for a long time.

Song recommendations: ‘Deep Blue Doubt’, ‘Living without You’, ‘More’

9/10

Week 47: Dermot Kennedy- Sonder

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I was incredibly pleased when I saw Derm get to number one. I have known him for a while now. He first followed me on twitter back in 2018 (I think.), and I have been pursuing the Dubliner’s career since. I was also proud to see him on the autumn edition of Later…with Jools Holland last month, where he performed ‘Dreamer’.

You’re probably looking at the title and wondering, “What the fuck is ‘sonder’?” I found while researching that it means “the realisation that each random passerby is living a life as vivid and complex as your own, ” which fits in with how Derm writes. He doesn’t appear to write from personal experience per sé but instead tells a fable that reflects the lives of his listeners, which is quite evident in most of his songs. Also, a lot of rappers can write from that perspective (I believe it is the third person perspective, but right now, I am writing while listening to Groove Armada, so even though I can still write this review, I am having brain fog on the exact term I am looking for.) Another songwriter who has a knack for writing like that is Kelly Jones of Stereophonics.

The album contains love, loss and optimism. Another thing I like about Derm is his vocal delivery. You believe what he is saying when he sings with an aching heart. I also like the way he can sing while his voice breaks. What do I mean by that “voice breaks”? Well, for instance, on ‘Dreamer’, which is quite melancholic, you can hear the tears as he talks about the subject. He isn’t crying, but the way he delivers it is like the individual breaking down and crying.

Although the record may be titled “Sonder”, there is no title track. The nearest to it would be ‘Something to Someone’, which, as you can tell, is about breaking up in a relationship. I suggest going to his YouTube and listening to the album through that route because videos accompany the songs, and you get a true sense of what the songs are about. There are some compelling videos on there.

Like most artists who have had a record out last year or so, this was done while in quarantine, and Derm perfects how everyone was feeling on ‘Better Days’. The leading single talks of having optimism that we will get out of this mess and look ahead to better days.

The album is what you expect it to be—polished production-wise and vocally. Derm is a superstar back home in Mother Ireland and spent the last year doing outdoor events. He will play London’s O2 Arena for the “Sonder” tour next spring. He is about to become a star all over Europe and the world. Oh, I almost forgot, the opener ‘Any love’ has a touch of Bon Iver to it, which is an exciting start, and as I like Bon Iver, I liked what Derm did.

Song recommendations: ‘Something to Someone’, ‘Better Days’, ‘Dreamer’

9/10

Week 30: Jamie T- the Theory of Whatever

~ honestopinions19 ~ Leave a comment

I first heard of Jamie T in 2009 after hearing ‘Calm Down Dearest’ in a supermarket. I thought it was a good song with heartfelt lyrics, but that was about as much attention I paid to his music until 2010. I attended several Indie discos to find myself again after having woman trouble and needing to let loose, have some fun, socialise, and chat with other women in clubs. A song besides Phoenix ‘1901’ getting the absolute shit played out of it was ‘Sticks n Stones’. Now, I initially thought it was the Libertines or Babyshambles (I have no idea why. Carl and Pete sound nothing like Jamie.), so I scoured the internet to find it and saw it was by Jamie T. That’s when I started to pay attention to his music and sought out live performances. I also saw them when he was on shows like Later…with Jools Holland. The next time I would hear of him until recently was when he performed ‘Zombie’ on Later…with Jools Holland.

Jamie would disappear for some time after that, and since he seldom uses social media, it can be challenging to stay in the loop. People started asking questions in 2020, and two years later, he emerged on Twitter to let the music world know he was working on an album, and a release date was slated for the summer as well as a tour. In June, he would appear on the most recent series of Later…with Jools Holland, where he performed his classic ‘Zombie’ and two new songs, ‘the Old Style Raiders’ and ‘A Million One New Ways to Die’. Noel Gallagher, his kids, and Rita Ora would watch his headline set at Glastonbury on the John Peel stage as he closed out the Saturday. Noel, among others, is a fan of the London artist. 

The first thing that strikes you when you first see the album is the cover art of Jamie playing golf. I don’t know its meaning, but he is now 36, reflecting that he is more mature and wiser. However, that might contradict his closing remarks at Glastonbury, where he addressed the crowd with, “I don’t give a flying fuck anymore. Thank you for coming to see us, but it really makes no difference to my life. I couldn’t give a fuck. I’d play to an empty room, I don’t care.”

That’s quite enough of that. I am now going to proceed to a track-by-track review:

90s Cars:

Slow drumming over keys, stuttering vocals that stop abruptly. It’s a good backstory over a slow but great melody.

the Old Style Raiders:

This is a quintessential Jamie T song with rap vocals over guitars, an anthemic chorus, and his version of indie rock. As mentioned earlier, I first heard this on Later…with Jools Holland. It was also the lead single that Jamie used to tell us all that he is back and what we should all expect from the new album. 

British Hell:

A punchy song with riffs to match, where Jamie foretells about the shit storm created in Britain and how it has become hell. The title is quite apt with the shit and corrupt government currently in charge who makes the general public’s lives miserable.

the Terror of Lambeth Love:

Jamie doesn’t hold back and tells it how it is over synths. It is a quick and angry rant, which makes the short length of the track quite apt.

Keyring Lamborghinis:

The story depicts a female who is a menace to society. She ruins people’s lives by terrorising them and the borough. The synthesiser is utilised once again.

St George Wharf Tower:

I am still trying to decide what to take away from this track, and the video wasn’t any clearer. He is just walking with the tower of wealthy business people behind him. The song sees the acoustic make an appearance with the strings plucked. It is slow, quiet and calm. I guess this is the hangover track.

A Million & One New Ways to Die:

Again, this is another song I heard on Later…with Jools Holland back in June. There is no time to catch your breath with this one. Jamie goes all-in from the first struck chord, and you can hear his passion and anger. One of the many qualities that attract people to Jamie’s music is that no-nonsense attitude. The guitars and the riffs play at a searing volume with an intensity that keeps you pumped for 3:17. Certainly, one of my favourites immediately caught my attention when watching it performed on Jools Holland’s show.

Thank You:

This sounds like a song that Damon Albarn would write for Blur. The story appears to be about a black cab driver and the pitfalls of being one.

Between the Rocks:

This relates to the same ferocity you experience in ‘A Million & One New Ways Die”. I don’t believe anyone can rap at the speed he does over indie rock. I am yet to witness it, anyway. In this, Jamie thanks those who have stood by him during the times when he struggles with his mental health. He also states that he still has a passion for songwriting, even though he doesn’t need to keep being creative with his songwriting. He still has the will and drive to carry on, which is fortunate for him and all involved.

Sabre Tooth:

 It is a song rich in instrumentation. Guitars, drums, keys, you name it. A lot is going on instrumentally.

Talk is Cheap:

Jamie gets out the acoustic guitar again, bringing down the tempo and gently singing from his heart. This track is about karma. The leading character has done many bad things in the past and is now paying for them.

Old Republican:

Jamie sings about pushing away someone you now realise you long for over the keyboard. Another clever thing about the track is that as the character’s feelings grow more intense, so does the instrumentation, which you sense in the guitar and the keyboard.

50,000 Unmarked Bullets:

Jamie closes the album with a soft piano ballad, reflecting the character’s mood, which is falling apart as the romance in his heart slowly disappears. However, instead of the record ending on a melancholic note, the character has optimism and reassures himself that someone is still there for him to be loved by.

Song recommendations: ‘A Million & One New Ways to Die’, ‘British Hell’, ‘Old Republican’

9/10

Week 34: the Killers- Pressure Machine

~ honestopinions19 ~ Leave a comment

Well, there’s no need to do a brief introduction on this Californian band. I have already reviewed their previous two albums, which I immensely enjoyed. However, their third record since 2017 has left me somewhat cold. It is in the same vein as “Sam’s Town”. It’s less of an album and more of a short story set to music. What exactly do I mean? It’s on novels by Steinbeck and Sherwood Anderson (If you know your books, they will sound familiar to you. However, I only read autobiographies as fiction bores me.) The record celebrates working-class America in the small towns and their fight against capitalism that is destroying their resources piece by piece. 

It’s weird when the band is from a big city on the West Coast riddled with celebrity and materialism. The lyrics detail America’s small towns soberly against a backdrop of country music. Indeed, it’s not a typical record by the band. When you think of the Killers, your go-to is synths and guitars. In some ways, the band must be applauded for calling out the capitalists for how they are killing the small towns. Seeing music ready to call out those who deserve to be named and shamed is always refreshing. I love the arts because they were built on anti-establishmentarianism and give a voice to the oppressed.

Am I contradicting myself? Maybe a little bit. I wasn’t a fan of the slow tempo and melancholic melodies you would associate with Brandon’s heroes, the Smiths, but the lyrics are lovely and thought-provoking. It isn’t always about the music. Sometimes, it’s about the topics, lyrical content or a combination of all three factors. 

“Pressure Machine” will probably not be well received by the casual listener of the band like myself. Still, I can imagine the hardcore element will find this newish approach just another side of the Killers. It’s not an album that will be “trendy”. Fair play to them for going in-depth on the plight of the working class in America and feeling passionately enough to go against the grain and make music with it. 

When you listen to the lyrics, they don’t jump at you in the form of a song, but more like you were reading poetry. I have heard some describe “Pressure Machine” as quite “catchy”, but honestly, I didn’t sense what the Killers are known for. No hooks and no catchy choruses. To be brutally blunt, I found myself drifting off when listening. It certainly isn’t going to increase their fan base, but what it lacks sonically, it makes up for with the lyrics and the topic. I struggled with song recommendations, but fear not; I did manage to compile the usual three.

Song recommendations: ‘West Hills’, ‘Runaway Horses’, ‘Pressure Machine’

6/10

Week 32: Billie Eilish- Happier than Ever

~ honestopinions19 ~ Leave a comment

This has been the female vocalist of the moment since 2017 (I think), and she has a cracking middle name with Pirate (I am not even joking! Look it up!). I first heard of Billie through Twitter but gave her a listen after some festival I happened to be watching. Two years later, she released her debut, “When We All Fall Asleep, Where Do We Go?”. Of course, a lot has happened since then. Billie is almost 20, and she is coming to terms with people body-shaming her, being chatted up by musicians old enough to be her father, and coming to terms with her public status. It is evident in her sophomore album. Whereas her debut had more rebellion, “Happier than Ever” is reflective and downtempo. 

Now, I am going to be honest with you. Her brother Finneas is more talented and has written some great songs with his sister and as a solo artist. He is also a multi-instrumentalist, which always scores high with me regarding talent and songwriting. I spent most of my time zoning out when listening to this (I don’t fucking care if her pathetic little army comes after me for this. Fuck you, you little fucking idiots.), and her vocals aren’t that unique. She is a cross between Lorde and Lana Del Rey. When I first heard her after all the hyperbole, I thought, “Where have I heard that voice before?”. Granted, her genre choices differ from the other two, but you can hear them coming through. Every song fell into the next one, and I don’t mean regarding a theme. They all sounded the same. I didn’t hear much diversity in the delivery. Even on the rockier song (I think it was ‘Male Fantasy’? I can’t recall. I listened to the record two weeks ago and tried to figure out how to describe what I heard.). Do I have any song recommendations? Surprisingly, yes, but my God…the album just underwhelmed me. It only got to the top spot because of who she is. Here’s hoping her third record will be an improvement.

4/10

Song recommendations: ‘Male Fantasy’, ‘I Didn’t Change My Number’, ‘Therefore I am.’