Tom’s latest album is more than just songs to add to his growing repertoire; they are from his soul. “Everywhere I Went Led Me to Where I Didn’t Want to Be” sees him explore new sounds over fifteen tracks. He delves into his struggles with his self-belief and the confidence he has gained since those times.
Yes, Tom still has that pop-friendly sound we have associated with him since the debut record, but he isn’t afraid to flirt with a diverse range of sounds. Jazz features on ‘Certified’, disco on ‘Lonely Dancer’, and ‘Drama Queen’ with a touch of rock. This album offers a plethora of genres, characterised by frank lyricism and raw vocals.
On the surface, the record contains sing-along anthems and tracks you can dance to, but underneath you can see the vulnerability in the lyricism and of course his vocals. He discusses batting his demons over uplifting instrumentation, which represents his defiance against them.
Justin Tranter encourages Tom to use trumpets, arpeggiated piano, and, of course, find new harmonies within his vocals that captivate the listener as we go on a journey of his life.
’Somewhere Only We Go’ is a standout. The track has a blend of change and growth, sharing memories along the way. The steady tempo, drums, and a swelling guitar riff complement Tom’s vocals.
The tempo drops on tracks like ‘Cinnamon’, where he is more tender in his delivery. The track also welcomes the second half of the album. A departure from an energetic first half.
Another track similar to ‘Cinnamon’ is ‘I Won’t Miss a Thing. ‘ This emotional track is a piano ballad, where Tom can really let his emotions go, where he addresses life and even though those who have passed on still remain with us, albeit in spirit—a track where reflection is necessary.
Of course, you have tracks full of energy like recent singles ‘Full Attention’ and ‘Boys Don’t Cry’ that firmly fit into the rock category, and I will add ‘Full Attention’ to my song recommendations, but overall, the record is another feather in his cap. We have his vocals blending with the variety of instrumentals that show his ability to express power and tenderness where required. The sound may be on the whole uplifting and fast tempo, but as mentioned earlier, when you listen to the lyrics, you will hear a sadness in his soul, defiance, and maturity. My only complaint is that most of the songs are far too short. Just as you are getting into them, they are over; apart from that, the record displays every side of Tom.
Song recommendations: ’Somewhere Only We Go’, ‘I Won’t Miss a Thing’, ‘Full Attention’
The only tracks that didn’t quite hit the mark for me were the ones that featured American or American-based artists , 21 Savage, Lil Durk, and Lil Baby. While these collaborations were undoubtedly high-profile, they seemed to lack the raw authenticity and personal storytelling that Central Cee brings to his solo tracks. That aside, the rest of Central Cee’s debut is excellent. Cench has been making waves for a while now. So much so that he is now in his mid-twenties, which is hard to believe. Of course, the lad from West London talks a lot about his journey from Shepherds Bush, living a stone’s throw away from Loftus Road, where Queens Park Rangers reside, to international fame.
Central Cee has been a Drill artist I have always respected because he doesn’t talk shit about killing people. He talks about the pitfalls of that lifestyle. Cench has always worked well with Suntan Dave, as shown with ‘Sprinter’, and the pair collaborate once again for ‘CRG’. This track certainly is chart-friendly and gives off an African vibe. It could be Afrobeat, but I tend not to listen to much of that due to the artists’ insistence on using autotune excessively. I especially love Cench’s delivery here as he goes slow, choppy, to rapid in an instant.
The album’s production, which is done by an army, needs a special mention. It is more relaxed and uses rimshots and hi-hats over the subs and kicks associated with Drill. Of course, the producers were wise to go with this option because it makes it more appealing to the mainstream.
What I particularly like about “Can’t Rush Greatness” is the stark contrast Cench presents between his past and present. Despite moving on and buying the luxuries he could only dream of growing up, he remains grounded. He has moved away from the grimy streets of West London but still doesn’t forget where he came from. Cench has achieved this by talking about the journey out of the ends, a journey that was not always easy, with very little about his life of luxury now. He confessed feeling apprehensive about talking about where he is from because things have changed a lot. He didn’t want to be perceived as a hypocrite.
‘Don’t Know Anymore’, which closes the records, chronicles his transformation from poverty to wealth. He reminisces about the days when he and his siblings depended on free school meals. His journey from cutting the mould off the loaf of bread to his current success is a source of pride. His lyricism and flow, with each listen, evoke a sense of admiration for his growth.
Cench, in his own words, admits he’s not the best songwriter, often choosing to freestyle over an instrumental. Yet, this approach, born out of his self-awareness, works effectively. Whether he constructs a song like that honestly, I can’t say. But if he does indeed write songs, he’s doing himself a disservice because his lyricism is nothing short of phenomenal. He’s not just self-aware, but also impressively savvy with pop culture, and wears his heart on his sleeve. As I mentioned, only three tracks fall short, but the rest of it is excellent. A marvellous debut.
Tracks to avoid:‘GBP’, ‘Truth in the Lies’, ‘Band4Band’
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’
A mixture of brief and long track-by-track reviews:
Jenny Was a Friend of Mine:
Powerful bassline depicting the fictional story of a girl called Jenny who was murdered. Morrissey(who Brandon is a fan of)inspired him to write the song, which is part of the murder trilogy featured from the “Hot Fuss” period. Frontman Brandon Flowers also said that Alice Deejay’s 1999 smash ‘Better Off Alone’ inspired the sound.
Mr Brightside:
THE iconic anthem that has stood the test of time for the band. It doesn’t matter where you are; everyone will know the words( to the chorus, at least.) and sing them at the top of their lungs with their arms aloft or their fist punching the air. Brandon said this track came to life after he suspected his then-girlfriend was cheating on him. Brandon woke up and went down to the Crown and Anchor public house in Las Vegas and saw his girlfriend cheating. The backing track had already been done before Brandon added his heart-wrenching vocals, followed by the drum machine featured on the demo. The anthem was initially met with disdain during its initial live performances and gathered momentum after the release of ‘Somebody Told Me’.
All These Things That I’ve Done:
Brandon admitted to imitating the late Lou Reed’s vocal delivery for this track. The song features the Gospel group Sweet Inspirations. The bassline was lifted from the late David Bowie’s ‘Slow Burn’.
Somebody Told Me:
Their second single, which had an Oasis-esque vibe, is about trying to pull someone in a nightclub. Brandon cleverly added both sexes in the chorus so both could relate to the meaning behind the song. Pulsating drums and spacey synthesisers over raucous guitars will have you headbanging, dancing uncontrollably or stamping your foot.
When You Were Young:
The synthesisers are warmer than what was heard on “Hot Fuss” over lyrics referencing hurricanes, heartache, and Jesus, specifically in the chorus). The synthesiser takes centre stage with its riff featured on the chorus. There is an element of folk in this 80s synth-pop song.
Read My Mind:
Brandon has said this is the best song he has ever written and declared it his favourite for the band. Again, it is an 80s-inspired synth song with amazing vocals in the verses and a riff that still sticks into your head almost two decades later. Brandon said this originally started as ‘Little Angela.’
Human:
I never understood the lyrics ‘Are We Human? Or are we Dancer?’ However, it is an infectious hook, and maybe due to its melody, it makes the outlandish lyrics redundant. Furthermore, many people have questioned what the lyrics mean because, as you can see, they do not make sense. The track featured a synthesiser, snappy guitar riff, and hi-hat riff, with a second synthesiser coming in the second verse: catchy synthesiser, and full drums in the first chorus. The second chorus features high synth strings, which lead into the middle eight and are accompanied by drums, bass, and vocals. The third chorus is a breakdown featuring the sounds heard so far, with a fade out on the final chorus.
Spaceman:
It is a song about meeting an alien, which gradually affects the main character’s sanity over multiple synthesisers with driven guitars coming in on the chorus. The standout has to be the drumming by Ronnie Vanucci. On a side note: When Noel Gallagher met the band, he ignored the other members and approached Ronnie. At the time, the then Oasis leader was looking for Zak Starkey’s successor.
A Dustland Fairytale:
It’s a song that sounds like it could be in a school assembly. There is an updated version featuring Bruce Springsteen, which was recorded in 2020. The acquisition of the Boss makes the re-recording better than the original version.
Be Still:
An unimpressive ballad.
Runaways:
This track is Bruce Springsteen-esque.
the Man:
I am not a fan of it, to be honest. It has that 1980s feel to it (I tend to cringe at most of the music from the 80s when I hear them played.). Don’t get me wrong, I like some 80s disco, but this had far too much to my liking, and I certainly wouldn’t put it in the Nile Rodgers category (I would have liked it, then.).
Caution:
Sounds like four bands rolled into one song. The intro is very Tame Impala, the verses are the War on Drugs and Slowdive, and the chorus is the Killers. Once again, the lyrical content and the story draw you in. There’s even an appearance by Lindsey Buckingham on the lead guitar. The story is about rolling the dice and throwing caution to the wind regardless of the consequences because you don’t want to regret missed opportunities.
My Own Soul’s Warning:
It is a slow-building track that bursts into a traditional Killers wall of sound. You can never forget the sound for that reason alone. The fable is quite religious, and what happens when you start questioning its validity?
Dying Breed:
Brandon goes for it on this song, especially in the chorus, as his vocals grow in volume. It’s a typical Killers track with all the synthesisers, et cetera. One to get the seating section up on their feet for a dance at the gigs.
Pressure Machine:
This is my third choice recommendation from the album with the same name. However, apart from the story being told, it lacked a hook and a chorus. It felt more like Spoken Word than the bombastic sound we know the band for.
Quiet Town:
A fable about two individuals killed in a 1994 car accident in Utah 1994 when a train hit them at a crossing. This song has some meaning to Brandon because he hails from the same town in Utah where the incident happened. He also saw one of the victims that day morning on the way to school. The song is broken down into verse one: the accident. Chorus one: How it shook the town, and what these Mormons are like. Verse two: 20 years after the accident, discussing the opioid stories. Chorus two: How the people live their lives and how their faith will pull them through. Verse three: Brandon outlines how he feels when he returns to his hometown. Chorus three: The local folk are good people and help those in need—verse four Talks about the train remembering taking those lives. Overall, the song is taken from the point of view of a train worker who witnessed the incident. The worker also says how the train kills someone every two or three years, maybe depicting that individuals intentionally commit suicide by being struck by the train. Why? Well, one of the lyrics is, “You…I, I think the train is a way to find your way out of this life if you get hit by it”.
Boy:
Chopping hi-hats, dazzling guitar riffs, and Brandon’s personal lyrics over their usual synth rock. The topic is Brandon addressing himself and his children about the past and the optimism of the future.
Your Side of Town:
Quintessentially the Killers.
Spirit:
The sole new track on the album, and closer samples Underworld’s iconic ‘Born Slippy’ over the band’s quintessential sound.
Song recommendations: ‘Mr Brightside’, ‘Somebody Told Me’, ‘Spirit’
I must confess that I was fucking terrified of how to approach this review. I wondered if it would be a written paragraph review, track-by-track, or short track-by-track. I mean, U2 are the most fucking iconic band ever, and I wanted to do them justice with a review of this.
The band started in Dublin during the mid-70s when Larry Mullen Jr requested band members wanted on the school notice board. He would get five responses, which included Bono, the Edge, Edge’s brother, and Adam Clayton. Before the lads settled on U2, Larry thought he would be in charge of the band until it appeared 10 minutes into the formation that Paul Hewson, aka Bono, had other ideas. Dik Evans (Edge’s brother, who has gone on to have a successful music career) would be phased out a year after the formation of Feedback, then the Hype. Ivan McCormick lasted a mere two weeks before being dropped. He would go on to become a composer.
Since then, the rest of history. The band has several iconic albums packed with political issues, bombastic choruses, and stadium anthems. The band was very punky, to begin with, before working with Brain Eno, which proved highly challenging for the band, who fell out on several occasions with Brian during recording sessions. In a documentary, the band admitted that they hated those sessions because he wanted to bring his production watermark to the album. Bono would constantly push back. However, “the Joshua Tree”, which the band confessed, until they did the anniversary in 2017 and 2019, supported by the likes of Noel Gallagher’s High Flying Birds, they were not particularly fond of, but now have found some love for it. Many people are fond of “the Joshua Tree”, where the hits and stadium anthems started to roll in. There is no doubt that Brian’s second time working with the band changed their sound forever and made them more versatile from that moment on.
The band have been together for over four decades, and despite the squabbling during the recording sessions for “the Joshua Tree”, they haven’t got close to breaking up since. How did it get to this? Well, last year, Bono released a book called ‘Surrender’, an autobiography ranging from anecdotes about his time in U2 to meeting the Pope with bonus content in the audiobook. Bono would do acoustic versions of their iconic hits when he did a reading tour., which brought the “Songs of Surrender” to life.
From there, the band had this concept of doing stripped-back versions of all their hits (That’s a staggering 40.)over four discs titled after each member. The Album is over three hours of listening time in total. Anyway, I have opted for a brief track-by-track review, so here goes:
Disc 1: the Edge
One:
Piano ballad, a gentle cymbal at the end of the chorus, soft vocals throughout, and the last chorus builds up with ghostly backing vocals and marching drums on the outro.
Where the Streets Have No Name:
Cello intro, haunting synth verse, the piano joins on the chorus, synth rings out on outro.
Stories for Boys:
Piano intro leading into verse, backing vocals on the verse, piano break, vocals over piano riff on the chorus, short piano riff outro.
11 O Clock Tick-Tock:
Drums and acoustic intro, acoustic plucking and piano in verse 1, bass riff and Bono falsetto in chorus, harmonic vocal break, backing harmonies with piano in verse 2, acoustic solo joined by plucked acoustic, gentle electric guitar on outro
Out of Control:
Acoustic solo intro, pulsating acoustic on the verse, reverb vocals over rhythmic acoustic on chorus 1, backing vocals on chorus 2, rhythmic acoustic on the bridge, acoustic solo break, bass on chorus 3, acoustic rings out on outro.
Beautiful Day:
Piano ballad with pulsating acoustic with scratching and backing vocals, pulsating piano in chorus, harmonic vocals leading into verse 3, choral bridge, pulsating drums in chorus 2, and choral outro.
Bad:
Acoustic intro over tambourine leading into verse, piano and strings join on verse 2, marching drums with an acoustic riff on the chorus, marching drums build before the harmonic outro.
Every Breaking Wave:
Haunting piano riff intro is repeated in verses, with backing vocals on the bridge, light strings in chorus 1, reverb vocals in verse 2, synth joins in chorus 2, piano break, and piano riff outro with sustained high vocals.
Walk on (Ukraine):
Plucked acoustic intro, backing vocals and bass join verse 2 with plucked acoustic, rhythmic acoustic on chorus 1, piano on chorus 2 with a light cymbal crash, pulsating piano on outro with riff.
Pride (in the Name of Love):
Rhythmic acoustic with bass intro, backing vocals on the chorus, piano with an acoustic riff on break, electric guitar solo break with full band outro before fade out.
Disc 2: Larry
Who’s Gonna Ride Your Wild Horses:
Pulsating acoustic, cello and piano in verses, a rhythmic acoustic riff in the chorus, bass joins from verse 2, backing vocals from Edge in chorus 2, and synth rings out on the outro.
Get Out of Your Own Way:
Drums, acoustic and backing vocals on the intro, bass joins in the verse, harmonic backing vocals with an acoustic riff on the chorus, and instrumental outro.
Stuck in a Moment You Can’t Get Out of:
Acoustic intro leads into verse, backing vocals from Edge, bass joins on the chorus, bongos on verse 2, piano joins on the outro, and acoustic rings out.
Red Hill Mining Town:
Haunting synth and acoustic on intro leading into verse with drums, bass and Trombone Shorty, chorus 2 with harmonic backing vocals, sustained trombone on the outro.
Ordinary Love:
Acoustic riff intro leading into verse, synth, bass and backing vocals on the chorus, acoustic riff break between verses, acoustic rings out on outro.
Sometimes You Can’t Make it on Your Own:
Piano intro leading intro verse, falsetto backing vocals on bridge, electric guitar riff, marching drums, tubular bells on verse 4 and final chorus, piano and bass drum outro.
Invisible:
Acoustic riff, piano, bass and drums intro leading into verse, the song builds on the chorus with backing vocals leading into the instrumental break, full band outro before Bono and backing vocals acapella.
Dirty Day:
Cello intro leads into verse, Bono whispered vocals in verse, the electric guitar riff in chorus, the violin joins in verse 2, Bono’s vocals slightly louder in verse 3, backing vocals in chorus 3, sustained violin, Bono’s sustained vocals, and acoustic rings out on outro.
the Miracle (of Joey Ramone):
Acoustic lead and full band intro leading into verse, backing vocals on chorus, piano, acoustic and Bono harmonies on break, backing harmonies on verse 2, short acoustic break, harmonic vocals with an acoustic outro.
City of Blinding Lights:
Piano and bass intro, piano and Bono on verse 1, backing vocals on bridge, backing vocals and acoustic on chorus 1, electric guitar joins on chorus 2, haunting harmonic vocals break, piano rings out on outro.
Disc 3: Adam
Vertigo:
Violin and rhythmic acoustic intro, rhythmic acoustic verse, violin and acoustic on chorus and post-chorus, violin and acoustic break, cello outro.
I Still Haven’t Found What I’m Looking For:
Acoustic riff and tambourine intro lead into verse, Bono with mid-volume vocals, Edge backing vocals, and bass join on verse 2, electric guitar on break, piano and full drums join on verse 3, ghostly outro.
Electrical Storm:
Piano and electric guitar intro, piano in verse 1, rhythmic acoustic joins in verse 3, reverb vocals on the chorus, verse 4 same as verse 1, full band in verse 6, tambourine joins on the final chorus, light cymbal crash to end.
the Fly:
Bongos, full drums, bass and electric guitar on intro leading into verse, haunting backing vocals on the chorus, piano post-chorus, backbeat break before the verse, piano break, reverb falsetto vocals followed by an acoustic solo, then reverb vocal outro.
if God Will Send His Angels:
Piano intro, whispered vocals over the piano in verse, chorus with backing falsetto vocals before piano rings out, piano solo post-chorus, falsetto vocals to end verse 2, distant reverb vocals post-chorus 2, piano outro.
Desire:
Electric guitar intro, falsetto vocals, handclaps and keyboard reverb effect on the verse, fiddle solo on bridge, yoddling with backing vocals on bridge 2, keyboard reverb effect outro.
Until the End of the World:
Rhythmic acoustic intro, piano and acoustic on the verse, backing vocals on the chorus, acoustic break, acoustic solo after chorus 2, falsetto vocals on verse 3, light harmonic vocals with backing harmonic vocals outro.
Song for Someone:
Pulsating acoustic with piano intro leading into verse, backing vocals join on the bridge, piano solo with vocals on the chorus, piano solo with acoustic and bass, acoustic rings out on outro.
All I Want is You:
Panpipe effect with bass and drum intro leading into verse, acoustic lead on the chorus, rhythmic acoustic break with the full band, bongos and falsetto vocals on final chorus, bass and bongos outro.
Peace on Earth:
Acoustic intro, empty church ambience vocals, the choir joins acoustic on chorus, full band joins choir and acoustic on chorus 2.
Disc 4: Bono
With or Without You:
Acoustic bass and synth intro leading into verse, building post-chorus, vocals build on the bridge, full band on the final chorus, electric guitar solo with brief Bono harmonic vocal outro.
Stay(Faraway, So Close!):
Backing vocals over piano intro leading into verse, electric guitar and full band on verse 2, falsetto with falsetto backing vocals on chorus, piano and Bono vocals on verse 3, verse 4 as verse 2, brief instrumental break before the chorus, harmonic vocals with backing harmonic vocals break partially spoken word on outro with electric guitar ringing out.
Sunday Bloody Sunday:
Acoustic riff with harmonic vocals, rhythmic acoustic on the verse, Edge backing vocals on chorus with change in rhythm, acoustic break, bass joins on chorus 2, acoustic solo, three-string pluck outro.
Light of Home:
Acoustic riff with synth intro, backing vocals in verse, full band in the chorus, ghostly vocals in post-chorus, full band in verse 2, backing vocals on bridge, acoustic solo, sustained vocals before a change in tempo with backing vocals outro.
Cedarwood Road:
Rhythmic acoustic intro leading into verse, change of acoustic tempo with backing vocals on the chorus, reverb vocal effect on verse 2, change of rhythm with the full band on verse 3, reverb effect outro.
I Will Follow:
Acoustic riff with strings intro, piano and bass join on the verse, acoustic riff break, full band on verse 2, backing vocals on the chorus, brief acoustic solo, sudden stop to end.
Two Hearts Beat as One:
Piano, bass, beatboxing, funky intro. Pulsating drums with the full band on the verse, backing vocals on the bridge, funky break with electric guitar, and piano break before the outro.
Miracle Drug:
Drum intro leading into verse, the piano joins on the verse, backing vocals on the chorus, acoustic rings out, acoustic with Bono on verse 2, full band on verse 3, brief acoustic break before the bridge, brief silence before the final chorus, rhythmic drum outro.
the Little Things that Give You Away:
Acoustic and bass intro, keyboards join on the verse, full band on verse 2, acoustic break before verse 3, backing vocals with reverb on chorus 2, acoustic, keyboards and bass on verse 4, the song builds on the bridge before the brief acoustic solo break, acoustic rings out on outro.
40:
Haunting piano with electric guitar intro leading into verse, bass joins on the verse, backing vocals on the chorus, piano break.
Even if you are not a fan of U2, you will be after hearing this. Upon listening, you will soon realise every track has a unique originality to its original version. It is a monumental effort to reimagine songs; looking at what I’ve written, you might consider it tedious, but far from it.
Song recommendations: ‘Two Hearts Beat as One’, ‘Beautiful Day’, ‘Vertigo’
My introduction to Sam is becoming somewhat of a cliché if you read my reviews and how I appear to discover many artists/bands.Once again, it was through Later…with Jools Holland where one song he played stuck out. It was called ‘Dead Boys’ and was hard-hitting with its content, and I detected a sound used by a big American artist known as “the Boss”. Funnily enough, after delving for more information, I discovered that the young artist I had seen on the programme happened to be a massive fan of Bruce Springsteen and said that he was his idol. It’s appropriate that he is dubbed “the Geordie Boss”. It’s also funny that the Newcastle United fanatic has a surname after the guitar manufacturer. He also happens to use a Fender during his performances. However, he is no relation. Sam released “Hypersonic Missiles” in 2019, intimate about his personal life.This second album goes a littledeeper into his teenage years and howhe became a 27-year-old musician during his turbulent childhood.
Through those turbulent times of seeing his mother leave when he was just 8, being kicked out of his father and stepmother’s house, returning home to live with his mother, being talked out of selling drugs to help support his mother and being bullied at school for being obese, Sam has built a strong character through writing and playing and overcame those obstacles. He talks about having his heart shattered in a teenage relationship and how he pretended she was dead so that he could move on. He touches on the loss of his grandmother and writes from the perspective of his father, who hid away the pain, but Sam couldsee he was devastated. In the latter instance, Sam is akin to Stereophonics frontman and chief songwriter Kelly Jones, withthe ability to speak in the third person.
Sam now knows what category his music belongs in with this record. Anything from Bruce Springsteen-style rock ballads to upbeat punk, complete with vocals from the heart. It is almost weird to hear his Geordie accent when it comes through on the tracks. Sam’s vocals sound like any region or country does not define them. They appear to be from deep within his body. Sam is from working-class Newcastle and isn’t afraid to show those roots as he calls out those in power for destroying the livelihoods of the working class. Sam mentions protests and wealth gaps on the punk-themed ‘Aye’ among other political issues.
Sam even throws in some jazz on ‘Mantra’, which is more instrumental than vocal. There is a slow build-up over the verse on the opening title track before the drums make a bombastic entrance. More instruments enter the phase, as with the guitars that can be heard at the introductionand the drums after the verse. The chorus is strange; I couldn’t identify it because there’s no clear indication there is one or much of one. The song is a lyrically remarkable story detailing his life from school to adolescence. There is a horn section reminiscent of Bruce’s E Street band, but that should come as no surprise for Sam’s inspiration for starting as a musician.
My favourite might surprise most people who listened to the album. It is ‘Angel in Lothian’ where Sam wishesan Angel in Lothian would save him during his dark times growing up. He talks about how he felt hopeless watching as his mother suffered from the pain that rendered her unable to work. Still, he was too young to help her and how living in North Shields affected his older brother Liam, a singer-songwriter who plays drums and piano. In the final chorus, Sam again wishes an Angel in Lothian would fix the problems he couldn’t and that when he has his children, they won’t suffer the upbringing he had or even the same health problems.
Like his beloved Newcastle United, Sam’s career can only improve, and his stock in America will surely rise as they recognise the Bruce in this highly talented North Shields lad.
Song recommendations: ‘Angel in Lothian’, ‘Seventeen Going Under’, ‘Aye’
Blimey, the number ones are coming thick and fast. I remember 2017 when I first started, which was about nine weeks (Thanks to Ed Sheeran). I didn’t have to write a review, but things have changed in the music world since then, and the average number one in the album chart lasts for about two weeks,withthree being the maximum going by last year’s outlook. Well, this week, it’s the Scottish band Mogwai, who I’m still determining when I first heard them. Maybe it might have been through the Electronic Arts FIFA series in the last decade, but this is the band’s first number-one for TWENTY-FIVE YEARS! So, I probably heard them back in the 1990s during their time at the peak of the album chart. What I find pretty fascinating about them is their obscure song titles, such as “to Bin My Friend, Tonight We Vacate Earth”, which features on the album. It sounds more like an album title rather than one for a track.
The record is somewhat original,with only one track with an actual song structure, “Ritchie Sacramento”, which comes in about halfway through. The rest is centred around experimental instrumentation, which makes it quite challenging to review because those tracks tend to be boring without vocals. It’s okay to play on the guitar, drums, bass, piano, et cetera because you are playing it in a bubble, but when it comes to listening to pure instrumentation, it isn’t all that great to hold your attention. In effect, it becomes more ambience when you’re reading or busy doing something like writing a review, for example.
The only instrumental I saw with any variation from the chilled drums, the medium-tempo rock,was “Fuck Off Money”. It sounds like something the tremendous French band AIR would produce with their trademark robotic vocals into the usual Mogwai instrumentation heard throughout the album. That and “Ritchie Sacramento” have any structure, and the aforementioned isn’t structured, albeit with the robotic vocals that gradually fade into the instrumentation. They experiment with the usual instrumentation by chucking strings on “Midnight Flit”. My standout is “Ceiling Granny”, which initially brought me to this record’s attention because I had gone to an online DJ shop and found it under the picks. I loved the rock sound even though it lacked vocals.
Compared to the usual material they produce for soundtracks, this is a lot heavier than that, psychedelic, and just entirely weird with the experimental sounds used. It doesn’t sound like any of their previous ten albums and is a vast departure from their debut.
I recommend trying not to wander off or get yourself distracted when listening to “As the Love Continues” because otherwise,you will not appreciate all the beauty that is contained in it and all theexperimental sounds with all the beeps, strings, psychedelia, rock, the AIR-like robotic vocals and the chilled out drums. As I said, it is a very tough listen because of the need for vocals and structure within the tracks because, in the main, it is like just one big jam session. However, stick with it; if necessary, give it a few listens to dial your ears in.
Song recommendations: “Ceiling Granny”, “Fuck Off Money”, “Here We, Here We, Here We Go Forever”
I have been listening to the band from Leeds (I was prettyshocked to discover that until a bit of interaction with the crowd during a Download Festival in 2014.) towards the end of last year. In the first few days of the current year, I watched some of their gigs combined via the playlist function on YouTube. I also watched one of their recent shows from last year (I say current; it was last February or something.) Now, onto the album…well, as you can see, the title isn’t all that cheery, and when you listen to the record, it synchronises with the title. The subject matters are gritty, too, as the band talks about right-wing politics, addiction, mental health, political correctness, and how the world has become dependent on technology. I was instead struck by the odd choice of having less than ten songs, with the album having just nine, which makes for a relatively quick listen. What it loses in length makes up for it in collaborations, being just under half of the record. It also sees a return to the band’s earlier sound with experimental chucked in for good measure.
The opening track, “Dear Diary”, has an air raid siren thrown in, which one could say is quite apt when you consider the album’s title. You can also hear leading vocalist Oli Sykes declare he can’t stomach any more survival horror and is going insane over the heavy metal guitars. The guitar solo is sublime, which comes in after the first chorus, and the frenetic tempo of the drums will be sure to have you headbanging like Beavis and Butt-Head (Funnily enough, I was watching a football match while listening, and the pace of the play matched the speed of the album.).
I remember hearing some of the tracks being teased in 2019 and 2020 during their shows (Especially“Ludens”, which I might talk about a bit later.). I am next going to focus on “Teardrops” because this one comes from the heart, and Oli doesn’t hold back, and he talks candidly about his years of fighting addiction that led to him becoming depressed and suffering from anxiety. This could well be another turning point in a listener’s life because Oli foretells what it is like to feel rock bottom and how your life is slipping away, and you are just numb. We have the typical Bring Me the Horizon sound to match Oli’s distressed yet passionate vocals with heavy guitars and those hooks that get embedded into your soul every time you listen. With Oli talking about such an ordeal, this song will be the most essential song they have written in a long time. Young people will listen and feel encouraged to see health professionals if they are experiencing the same issues. Hopefully, that will lead to them losing the shame of discussing it withtheir friends and family. “Obey”, however, is a more uplifting track but laced with sarcasm as Oli and Youngblud aim at the shambolic British government.
I did like “Itch for the Cure (When Will We Be Free?)”, but it’s a segue into “Kingslayer”. It is quite simply a transition because both tracks have Pendulum-like Drum n Bass sounds. The Su-metal feature from Babymetal more than matches Oli’s acidic vocals, bringing an anime feel.
Now, the title is something of a mouthful: “One Day the Only Butterflies Left Will be in Your Chest as You March Towards Your Death.”…You see? It’s a bloody long titleand could be more pleasing to read.But, despite my love of the Pendulum-Esque “Kingslayer”, the final track with Evanescence’s AmyLee runs away with the victory. Considering her vocals on “Bring Me to Life” by her band Evanescence, Amy Lee is ideal for this. The song has a very hymnal sound that gradually blossoms into slower pop. I love the vocal combination; you can feel how both got intocharacter. It’s not a conventional Bring Me the Horizon song; itis more suited to Evanescence, but it is pretty beautiful despite the title and the ghostly aura.
Song recommendations: “One Day the Only Butterflies Left Will be in Your Chest as You March Towards Your Death”, “Teardrops”, “Kingslayer”
What can you say about this man? An ex-member of one the greatest bands of all time who has inspired a generation of musicians and bands to break through from Cast to Oasis and even bands to date. Paul is a self-taught musician on pretty much any instrument he picks up. It started as a child when he wanted to play the piano, which his grandad was very fond of, but Paul’s father refused to teach him, saying he would benefit more from learning to teach himself. From there, the rest is history, and Paul, since learning to play by ear, has gone on to be one of the most decorated musicians and songwriters the world has ever seen. He can write a song as if rain was falling from the sky in his native Liverpool (Like any place in England, you will understand what I mean by this.) and is called a genius by his peers even though he openly admits he despises the tag and modesty says “I’m not a genius, I’m just a bloke who writes music.”.
Here is my track-by-track review of his latest album:
Long Tailed Winter Bird:
This is more like one of those throwaway tracks or a track that was added just as filler. There are no lyrics to this song, and the instrumental started as a track for a film upon which Paul made longer and opted to use for the current album. According to Paul, the name was taken from a book he owns about birds.
Find My Way:
Composed initially while listening to the radio in the car, Paul then took his idea into the studio. He still decided to keep the piano but changed the verses to something that worked better.
Pretty Boys:
The story is about male models whom the paparazzi harass, and Paul said upon walking in New York that he saw a line of hire bicycles and came up with the concept that the models were for hire.
Women and Wives:
This blues number on the piano was born after Paul read a book on Lead Belly. He then sat down by the piano with a few simple chords that would fit around blues vocals. From there, he flew back to England to head to the studio and record it.
Lavatory Lil:
This song is about someone you don’t like, probably even hate, and creates a sphere where you exaggerate what they are like based upon your perceptions of them. I imagine Paul did have people in mind but opted for a nameless character to avoid being caught up in a legal battle.
Deep Deep Falling:
It was the longest track on the record at over eight minutes. The track was originally going to be trimmed, but Paul liked the track that started as a jam session, which later the lyrics and vocals were added to so much, he wanted to keep it that long.
Slidin:
Again, this is another track that started life as a jam. This time, during a soundcheck while on the European leg of a tour in Germany. Originally, it was to be used for his 2018 album “Egypt Station” as he liked the riff, but it didn’t work and was therefore half-baked. He returned to it for this record’s studio sessions and added lyrics while chopping and changing several other things but keeping the guitar riff. The title is from Paul watching the Winter Olympics and the commentator saying the term “Sliding” when the sports in question were done on the piste.
the Kiss of Venus:
A psychedelic song inspired by a book Paul was given about Earth, Mars, Venus, and the moon, where the phrase, which later became the title of the song, kept jumping out at him.
Seize the Day:
Another track was created on the piano, and Paul improvised. He built the rest of the song upon some lyrics about Eskimos and ice. From there, he added about the cold days in the chorus and then turned this extremely eccentric song into about enjoying today rather than letting the cold days drag us down.
Deep Down:
Another track evolved from a jam session, and from there, he built around it by improvisation. There needed to be a solid concept in place to write a song from it.
Winter Bird/When Winter Comes:
This track surprises you because it sounds like a continuation of the opening track but then evolves into something else with vocals, drums, bass, and guitar.
Song recommendations: “Deep Deep Falling”, “Slidin”, “Seize the Day”.
Here is my track-by-track review of her 9th studio album and her second album release of the current year:
Willow:
This isn’t just the opening track of the album, but it is also the leading single. This is Taylor returning to her roots when she was gigging constantly across America to get herself noticed within the industry by basing herself on country music. It’s a bizarre choice as a single, as it hasn’t any of those typical pop traits to chart that high. It is pure country with its delicately plucked acoustic guitar. Her vocal delivery synchronises with the subject of being in love with someone, and you’re trying to make them feel the same way. Taylor expresses this by how we would feel in those moments. From feeling high and excited to feeling low and being unable to breathe from the panic that they don’t love you. There are also some deep lyrics within, so listen carefully.
Champagne Problems:
This piano ballad was written with her boyfriend, who uses the alias William Bowery (Of course, his real name is Joe Alwyn.). Is the subject matter supposed to be about their current relationship? Rather than about a couple in college who share very different views about a night where one wants to break up and the other wants to propose. I don’t know how happy they are, but I can’t see them dropping hints while writing a song together. I also learned that “Champagne Problems” is a phrase (I guess only in America.) that means when an individual’s troubles are genuine but, when put into perspective, are less important than how much others are suffering. Like with “Folklore”, Taylor touches on the very fragile subject of mental health. In this song, the female character mentions her problems with mental health and how the break up of her relationship has further impacted it. I am going to quote some compelling lyrics taken from the male character in this, as he is the one who has been left heartbroken. “Sometimes you just don’t know the answer til someone’s on their knees and asks you; she would have made such a lovely bride, what a shame she’s fucked in the head, they said, but you’ll find the real thing instead”. As you can see, the song is very emotional.
Gold Rush:
Wasn’t this also a song on “Folklore”? I can’t remember, but someone will tell me when they visit my archives this year. Bizarrely, the producer of this track only features once on the record when you consider Jack Antonoff has produced half of her songs over the past three albums. This song is more chart-friendly compared to the previous tracks on the record. This time, the leading character starts falling for someone popular among several others. Unfortunately for the leading female character, the other women chases the man in question. Still, just like the leading female, they are also looking for gold in California, which, when you think about it, makes the title make sense. The leading character becomes jealous and longing to have him, and she decides she can no longer chase him because she has no fight left in her and feels it is futile. Again, some lyrics stood out for me, and they are intense by the lead character. “At dinner parties, I call you out on your contrarian shit, and the coastal town we wandered round had never seen a love as pure as it, and then it fades into the grey of my day-old tea, cause it could never be”.
Tis the Damn Season:
What I found about Taylor’s songwriting is she can tell fables about fictional characters based on actual events or fables about her own life experiences. It is challenging to do the former, as you must design the characters and build the fable around them, but Taylor does this effortlessly. Once again, on this album, she has devised a character from Tupelo, Mississippi, who is leaving her town to achieve her dreams in Hollywood on the big screen. You may be wondering where the Christmas element comes into it. The lead character returns home to enjoy the festivities, where she stumbles across an ex-lover. As one of the lyrics depicts over this electric guitar track, she says how she is breaking her own heart by returning to Los Angeles, where everyone she meets is superficial, including the way she smiles, rather than remaining in Tupelo to get back with her ex-lover and feel loved and happy once more.
Tolerate it:
There appears to be a trend with Taylor and the obsession with the fifth track; the fifth track always seems to be a ballad with a heart-wrenching confession. “Evermore” doesn’t buck the trend. Again, the song is seen from the female perspective. She is sick and tired of devoting her life to her lover, and she is not getting much compassion or any form of emotional connection in return, so she is starting to hate and resent him for that. She has tolerated this behaviour for far too long from him, and now she is ready to confront him. This track perfectly depicts when love fades away from one perspective and turns sour from the other.
No Body, No Crime:
HAIM features on this, but it is based more on the country music scene, from what I recall, rather than the usual rock-based music from HAIM. As you can tell from the title, Taylor, with HAIM doing backing vocals, has gone for a topic about committing a murder. However, it is a double homicide told from different perspectives. The first verse is the narrator’s friend bringing up in a conversation that she thinks her husband is seeing another woman; in the second verse, her friend disappears, and the narrator is sure that the husband killed her and to avenge her friend’s death in the third verse, she kills the husband, but by doing this she compromises the case. Again, this is another powerful fable told by Taylor on this record.
Happiness:
The calibre of this song is quite astonishing when you consider it was the last one to be written in just under a week before the album was due to be released. Most might panic and therefore not put much effort into the last song they are writing just in case they miss the deadline by taking too long, but Taylor has managed to create a good song under that pressure and have it all done and ready to be included on the album. The story is both one of despair and optimism. The individual is going through the agony and six degrees of separation phase of splitting up with their lover, but they show signs of optimism, knowing that happiness will return once this phase has passed. The production complements the lyrics with its slow tempo and melancholic tone. Is the individual Taylor? It shows a mature approach to handling a breakup compared to her as a teenager, where she attacked every ex with venom over wax. If the character is indeed Taylor, then she has shown that as she has got older, she can move on and enjoy the next one to enter her life.
Dorothea:
Remember the track “Tis the Damn Season” earlier on and the unknown female? Well, this is her name and the continuation of the story. However, this is not told from Dorothea’s perspective but by her ex-lover. He was devastated when she moved to Hollywood and longed to be with her. He also ponders, now she is in L.A. chasing her dreams, whether she pauses to think about him. Although the subject is deep and emotional, the song has a relatively upbeat tempo.
Coney Island:
Now, I expected HAIM to feature, but the National? I wasn’t expecting that. Nor was I expecting a duet between Taylor Swift and Matt Berninger. However, I discovered that the National’s Aaron Dressner produces most of the tracks on this album, so it makes sense for Taylor to collaborate either by request or suggested by Aaron. The subject matter is once again that of broken love. This time, it is about a couple reminiscing on the relationship and how it fell apart because the levels of commitment were not balanced. The song also appears to be the couple trying to work out what went wrong and trying to see if they can try again. Taylor’s melodic vocals complement Matt’s customary raspy yet deep vocals.
Ivy:
The banjo is the main instrument this time. It features the first of two collaborations with Justin Vernon of Bon Iver (Later on, the entire band feature.) over a story about a wife committing adultery and subsequently falling in love with her secret lover. Even though she continues the affair as she enjoys the attention, she is trying to stay faithful simultaneously. It is similar to the story in “illicit Affairs” from the previous album and is also freakishly the tenth track.
Cowboy Like Me:
Another song inspired by her roots in country, the story is that of gold diggers who, instead of chasing those with wealth, end up falling for each other. Marcus Mumford from Mumford and Sons provides backing vocals. The song is also typical of a song likely to be composed by Mumford and Sons with guitars, mandolins, harmonicas, and anything from country music you can think of.
Long Story Short:
From an album steeped in country, this track departs from that with its catchy pop chorus, drums, and guitars out of indie rock. You can see this being on her albums before her current two. Taylor goes after the media and the misogynists who tried to ruin her career a couple of years ago (See my first review on the album where she goes fucking ballistic on those people for the whole story.). However, rather than getting herself worked up, Taylor’s vocals are balanced and calm. Even the lyrics are about not sweating the small stuff. She displays happiness knowing she is content in her relationship and that she is way past all this petty bullshit from her enemies. She writes lyrics to her past self to let these things slide and let her enemies defeat themselves by being starved of her attention and reaction. Taylor has shown a lot of maturity so far on the record.
Marjorie:
I am starting to wonder if “Evermore” is the continuation of “Folklore” with the topics, sound, and production. It seems like it is. Still, it doesn’t bother me a jot because I prefer Taylor when writing music in the genre her heart belongs to. Pop was to get a wider audience, but country is where her heart is. Also, there is another reason this is a continuation, and it is related to the thirteenth track of the respective albums. “Folklore” was an ode to her grandfather, who fought in World War II, and “Evermore” focuses on her grandmother, Marjorie Finlay, an opera singer whom Taylor didn’t appreciate until she passed away when Taylor was just a teenager. Taylor regrets this and wishes she could go back and fix this with her grandmother. It is also a grand, haunting gesture, that Taylor used her late grandmother’s vocals for the backing track. Sends chills down your spine.
Closure:
Many of us can relate to the topic here. I’m sure we have all been in a relationship where it ended badly, and we wanted to explain ourselves later on after the dust had settled as to why, but our ex simply refuses the closure and doesn’t want to know. This song describes that. In this case, it’s a male looking for closure from the female, but she has moved on and doesn’t find it necessary to explain it, rather than doing something to avenge the hurt he caused. The lyrics mention that he wants to remain friends after the closure and that he’s angry she won’t hear him out.
Evermore:
The closing and my favourite track. Sorry, but it’s got Bon Iver on it. What more is there to say? Justin Vernon and the rest of the band produce good music. I love this piano-based song with Taylor and Justin doing a cypher and harmonising together, which touches on depression with a mix of dark and optimism to end the album. The highlight is the cypher for me; it is scarce to see vocalists go bar-for-bar like they were rapping or sharing a poem.
Song recommendations: “Evermore”, “Coney Island”, “Long Story Short”.
Honest Opinions 