Hip-Hop

Week 15: RAYE- This Music May Contain Hope.

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I am beyond delighted that RAYE finally has a number one album, after her debut was criminally robbed by a pile of shite. No one on this earth deserves it more than her. She was cast aside by her label as a solo artist and writer. They wanted her to just collaborate and write for other artists, which she felt hindered her creative spirit. It would take a decade before she finally broke free from her label, went independent and released her debut to much praise. She is known for blending pop. R&B, jazz, and soul with unfiltered conscious lyricism, which is occasionally delivered with an operatic vocal. Her debut, “My 21st Century Blues”, showcased her vocal range and exemplary storytelling. Just a few songs featured on Later… with Jools Holland proved that the record would be excellent.

Now, she is back with her sophomore album, “This Music May Contain Hope”, where she dives further into her creative freedom- long-term songwriting, more experimental, more emotional, and embracing theatrical arrangements. You know what? Fuck it. I’ll tell you right now that this album is fucking brilliant. More than a worthy successor of “My 21st Century Blues”. Right, let us get on with the review. I have chosen a track-by-track analysis because I feel that it is fitting for the album.

Girl Under Grey Cloud:

The opener sets the mood. RAYE adopts a spoken word approach over atmosphere. It highlights the album’s central theme: the sadness is romantic and cinematic. You can hear the “musical theatre” element so often discussed by critics.

I Will Overcome:

The first statement song on the record. Big vocals and self-mythology over gospel sounds. RAYE makes you believe every lyric uttered. Showing despite some pain still remaining, she is resilient.

Beware.. The South London Lover Boy:

Quintessentially a London-based humour track, sharp and witty. She uses this London humour to cut through the heartbreak, which recurs throughout the album. This track shows her true personality.

The WhatsApp Shakespeare:

A track with clever, modern and playful lyricism that turns digital-age romance into something poetic. It highlights her inventiveness.

Winter Woman:

The title is apt to the track’s mood because it is colder, reflecting emotional distance and numbness. The production is therefore minimal, giving the record its first real moment of introspection.

Click Clack Symphony. (feat. Hans Zimmer):

I wanted to enjoy this track because the great film-score legend Hans Zimmer features, but unfortunately, it leans too heavily on auto-tune, which is an instant skip for me.

I Know You’re Hurting:

This track reflects the emotional core of the album. This stripped-back ballad stands out from the record’s theatrical style. It feels raw, but she does not overcook it.

Life Boat:

A turning point on the album. There is more rhythm and energy. The lyricism focuses on survival and transitions into the next phase of the record, moving away from the emotional fog so far. I will go into that more in the outro.

I Hate The Way I Look Today:

This song is about insecurity, vulnerability, and self-image shrouded in a slightly whimsical arrangement. It balances the heavy subjects with charm, which RAYE is a master at.

Goodbye Henry. (feat. Al Green):

Retro soul duet with the great Reverend Al Green. Now, I am not entirely sure if he joined RAYE in the studio or if his vocals are sampled from one of his many classics. Anyway, the track is warm and tender with minimal drama compared to the tracks on the first half of the album. She is starting to show acceptance.

Nightingale Lane.:

This melodic track foretells RAYE’s first encounter with love in the South London street. It shows off her artistic talent. One of the highlights from the record.

Skin & Bones:

The production gives way to a lyrically emotional song. One for the poets and wordsmiths.

WHERE IS MY HUSBAND!:

Everyone knows this. It has been played to death since its release late last year. It is funny, catchy, and dramatic while balancing satire and sincerity. It is also full of brass to add to the effect, and you all thought RAYE is that voice that says “Your husband is coming” before the outro, well, you would be wrong, it is her grandma. Don’t they sound very alike? I do like this track, but it’s not my favourite.

Fields. (feat. Grandad Michael):

Here we go, the pointless interlude. The deeply personal moment features her family, which ties into the album’s theme.

Joy. (feat. Absolutely, Amma):

The featured artists are not only part of RAYE’s backing group but also very dear friends. The mood shifts into something quite celebratory, yet still feels grounded. You can hear that the second part of the record is more upbeat.

Happier Times Ahead.:

A track addressing resolution. It may not display pure happiness, but it contains belief. I would also describe it as optimistic.

Fin.:

Hahahaha, this final song made me laugh. RAYE reels off all the people behind the album for over five minutes. There is no need to read the sleeve notes, because she has already done so for you. A quirky but humorous way to close an album.

Outro:

As I mentioned earlier, about the album’s structure. The first half is winter, with the more deeply emotional tracks, and the second half is summer, where moments of optimism and joy soften the mood. “This Music May Contain Hope.” shows how ambitious RAYE is, and that’s intended. The album isn’t about giving the listener an easy listen, but about songs that start instantly, feature spoken-word moments, and shift genres.

Of course, RAYE may be a bit self-indulgent at times, but give her a break. She has been through an awful lot to even have an album, let alone her second. The pacing may sometimes feel heavy and the theatrical style a bit much, but tracks like ‘Nightingale Lane’, ‘WHERE IS MY HUSBAND! and ‘I Know You’re Hurting.’ are marvellous.

What I have always loved about RAYE is that she is unapologetic. Absolutely refreshing in an industry full of knee benders. She is funny, dramatic, heartbroken, and defiant. A Beautiful album. Two records in, and she is just blowing the competition away. Hopefully, the third will see her keep the momentum.

Song recommendations: ‘Nightingale Lane.’, ‘WHERE IS MY HUSBAND!’, ‘Beware…The South London Lover Boy’

9/10

Week 14: Bangtan Boys aka Bangtan Sonyeondan aka BTS: Arirang

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Unfortunately, “Arirang” falls flat on its arse compared to BTS’s previous effort. This is just extremely overproduced.

‘Body to Body’’is lifeless and buried under layers of vocal effects, while trying to set the mood with a traditional sample. ‘Hooligan’ is flat because the gritty sound and edge is lost to a synthetic finish. ‘Aliens’ and ‘FYA’ are too polished, so they don’t stand out. Oh, and they’re also victims of auto-tune.

‘SWIM’, which is supposed to be the standout track, may be catchy, but it feels hollow. By the time you get to ‘Into the Sun’, the experience has been ruined by the vocal effects, and that is the central issue with the entire record.

“Arirang” had great potential, with personal and emotional stories, but alas, they’re lost in the excess use of auto-tune. Everyone loves their humanity, and that’s what made them so popular. This is a huge step backwards. Utterly unlistenable thanks to auto-tune.

No rating

Week 10: Gorillaz- The Mountain

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The band that keeps reinventing itself returns with “The Mountain,” an album that draws on global influences and feels reflective yet adventurous.

The record may have been recorded in Devon and Damon Albarn’s home Studio 13 in London, but the songs are in Spanish, Arabic, Hindi, Yoruba, and Russian. It is quite Middle Eastern-heavy, with sounds blended with synth-pop and psychedelia across several word music genres. It is certainly their most eclectic album to date.

The record features the title track, with a spoken-word passage by the late Dennis Hopper over Anoushka Shankar’s sitar (Yes, she is, before you ask), and an orchestral flourish that gives it an atmospheric, spiritual feel. It sets the tone for the rest of the journey within.

One of the highlights is ‘The Moon Cave’ featuring an array of artists, including the late Bobby Womack, and the underrated rapper from The Roots, Black Thought. There is a combination of atmospheric beats and haunting vocals enshrined in layered instrumentation.

The following track,’The Happy Dictator’ with the Mael brothers duo, Sparks, contains witty political satire and theatrical pop. Reminiscent of the band’s earlier days that echo the sentiments of ‘Clint Eastwood’ and ‘Feel Good Inc’.

Tracks like ‘Orange County and ‘The Empty Dream Machine’, on the midsection, focus on collaborations, with the former featuring Bizarrap and Kara Jackson, the latter has Black Thought and Johnny Marr, who features just behind Anoushka (she is present throughout). The merge of dreamy synths and global instrumentation over rapped verse, and the unmistakable guitar playing of Johnny.

As the record starts to wind down, tracks like ‘The Shadowy Light’ featuring Super Furry Animals frontman Gruff Rhys, and ’The Sad God’ are more reflective. Melody and layered instrumentation are the focus, bringing an emotional close.

I found that “The Mountain” was heavily inspired by the Middle East, but Gorillaz have never been ones to shy away from using global sounds and collaboration to enhance their music. Some tracks may seem drawn out, but the payoff is worth it for their beauty and experimentation. It may not be the best body of work, but it is their most adventurous and culturally rich. I enjoyed Anoushka’s effortless playing, Black Thought’s thought-provoking lyricism, and Johnny’s jangly tones, arpeggiated chords, and melodic progressions.

Song recommendations: ’The Empty Dream Machine’, ’The Moon Cave’, ‘The Happy Dictator’

8/10

Week 12: Playboi Carti- Music

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Five years. That’s how long fans apparently waited, their anticipation growing for a new Playboi Carti album—five years of hope for a groundbreaking release. Yet, what they got was a sonic mess that feels more like a collection of unfinished demos hastily put together for the TikTok generation than a cohesive artistic statement.

Honestly, I never understood the hype. Carti’s music has always struck me as repetitive and simplistic, leaning heavily on mumbled vocals and repetitive beats. But even with low expectations, this new record managed to disappoint. It’s a sloppy, autotune-drenched affair designed for fleeting moments rather than sustained listening.

The most significant issue is the lack of substance. The tracks, with their repetitive phrases and simplistic melodies, often feel more like sonic wallpaper than carefully constructed songs. They lack the complexity and depth that would engage a discerning listener. This is music for a generation with the attention span of a sugar-addled toddler in a sweet shop, always searching for the next sugar rush.And let’s talk about the autotune. While its strategic use can add a unique texture and flavour to a track, here it feels like a crutch, masking vocal inadequacies and blurring any sense of genuine expression. It’s so pervasive that it becomes distracting, creating a homogenous soundscape devoid of personality.

What’s truly baffling is the inclusion of heavyweight features like Kendrick Lamar and Skepta. These are artists known for their lyrical prowess and innovative approaches to hip-hop. To hear them diluted within this autotune-heavy swamp is frankly disheartening. Their contributions feel out of place, like trying to add a gourmet meal to a plate of fast food. It’s as if their unique style clashes with the direction of this project, leading to a lack of cohesion. Their talent is wasted on this project.

Maybe some will argue that I “don’t get it.”. But this album feels lazy and derivative, a clear indication of prioritising trends over artistry, so in other words, I find it fucking shit and ear bleeding. After five years of waiting, fans deserved something more substantial, something more memorable, something that justified the anticipation. Instead, they got noise that will likely be forgotten as quickly as the next TikTok trend. Ultimately, this record confirms my long-held suspicion: the emperor has no clothes, and in this case, he also has a broken autotune machine.

Week 5: Central Cee- Can’t Rush Greatness

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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’

8/10

Week 48: Kendrick Lamar- GNX

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I have been a fan of Kendrick’s since I first heard him back in 2019. His flow and lyricism impressed me. He also seldom uses autotune, which is always a good thing. He doesn’t chat a lot of shit that most of the modern rappers talk about. You can see why 2pac is his idol. Like his idol, he also talks less about materialistic things and focuses on political and everyday matters. Fuck what you might have heard from stuck-up journalists snarling at this album because it is brilliant. Of course, there is a trio of tracks that utilise autotune, but the rest of the record is great apart from that.

What I also like about Kendrick’s albums is they are the same as his idol. Creative and original from their predecessors. Lamar includes old-school soul, old-school RnB, violins, Spanish guitars, trap drums and flirts with rhythms. There is also the sample of 2pac’s ‘Made Ni**az ’. It’s a personal favourite of my 2pac songs. 2pac’s influence on Kendrick’s music is undeniable, and this is evident in his sampling of ‘Made Ni *az ‘. However, my only complaint with sampling it for ‘Reincarnated’ is that he seems to be emulating Pac’s style rather than expressing originality. I can still tell it’s Kendrick because of the flow, but he seems to be trying to deliver the same as Pac did on ‘Made Ni*az’. The video is also the same. I am unsure if Kendrick is in it because the one I saw was the original with Pac, or as he was known on that track, Makaveli Tha Don.

As you’re aware, Kendrick has recently experimented with a pop element in his music, a move that added a unique twist to his Drake diss track, ‘Not Like Us’. It’s a bit disheartening that this wasn’t part of the album, as I was quite taken with how he dismantled Drake with undeniable truths. However, a similar vibe can be found in ‘tv off’, a track featuring lefty gunplay. While it may not be a diss track, the production bears a striking resemblance. ‘Not Like Us’ was brought to life by Mustard, and Kendrick has once again enlisted his services for this particular track, which is a real bop.

Aside from ‘Reincarnated’, my favourite track for obvious reasons, my other favourite is the captivating ‘Heart pt. 6’. It’s one of those tracks that hooks you in with its production within seconds, and then enthralls you with its lyricism and delivery within a minute. His delivery, in particular, has a unique blend that reminds me of the Ying-Yang Twins with a hint of Q-Tip. But let’s not get too distracted. This is a track that you’ll find yourself drawn to, wanting to hear it again and again.

Another reason to admire ‘heart pt.6’ is Kendrick Lamar’s unwavering respect for 2pac. He once again outshines Drake with his lyricism and undeniable facts. It’s about time that the truth about Drake was revealed. It’s reassuring to see a 2pac fan like Kendrick Lamar stepping up. Drake’s recent insult to Pac , by using his rapping on one of his many subpar tracks , didn’t sit well with Kendrick. He made sure to let the fake rapper know exactly how Pac fans felt about it.

My final favourite is also the final track featuring SZA, ‘Gloria’. This is Kendrick’s version of Makaveli Tha Don’s ‘Me and My Girlfriend’, except that ‘Gloria’ is a girl rather than a gun. It also mirrors the middle, similar to ‘My and My Girlfriend’.

Although you can hear that Kendrick is heavily inspired by 2pac/Makaveli Tha Don, the entire album is a nod to the West Coast Rap scene and its legends—another reason to like the record. While the bitter cold starts to set in, this album is a ray of sunshine with uptempo production to lift your spirits. The lyricism is also on point; you can see why he is highly regarded. I look forward to the follow-up.

Song recommendations: ‘Reincarnated’, ‘heart pt.6’, ‘Gloria’

9/10

Week 47: Linkin Park- From Zero

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When I was in college, back in the early-2000s, people listened to Linkin Park a lot: them and Papa Roach. I didn’t get into the band until the 2010s and could appreciate the late Chester Bennington’s vocal range. I was young and naïve, so I saw him as “The singer who screams down the microphone”. When I listened to the band properly, I grew to appreciate their lyrics and, as mentioned, Chester’s singing. As we all know, Chester passed on over seven years ago. Whether you believe in the narrative or conspiracy theories is another thing. I have more than shared my opinion on Chester’s passing among friends and social media. I will leave my opinions aside for the review. The band has had various guest vocalists since his passing while they have performed and finally settled on former Dead Sara vocalist Emily Armstrong, who has proved a hit with the fans during the live shows. She joins with co-vocalist/rapper Mike Shinoda and new drummer Colin Brittain. Although Emily proved to be a hit when the band performed live, the reaction to her taking Chester’s place was mixed. I believe his estate was none too pleased with this decision. I wasn’t sure at first because this is like Metallica without James Hetfield or Lars Ulrich. It usually ends in a disaster because it isn’t the same without the heartbeat. I can understand people’s reservations about Emily becoming a full member, but to me, she reminds me of a female version of Chester.

I hope she is given time to grow. She is a fantastic vocalist, but it is hard to see past Chester’s legacy. Should the band have packed up and started a new project? Hmmm…I don’t know. It probably would have been a better idea, but the band’s decision to carry on is one that we, as fans and critics, should understand and respect. It’s not an easy path, but it’s one they’ve chosen to take.

What I’ve noticed about “From Zero’ is, well, nothing. This sounds like the Linkin Park we all know and love. The only difference is a female taking over vocal duties. It hasn’t tread any new ground, but is now really the time to be experimental? I’d say no. They need to stick to a tried and tested formula while they make this transition. And it’s crucial for us, the fans, to be a part of this journey. It also needs to be this way to see how people react to hearing the first album without Chester. Unfortunately, this record will always be based on what it was then and what it is now.

My highlights were ‘IGYEIH’, ‘Over Each Other’, and ‘Good Things Go’. Emily especially stands out with her angst-ridden vocals. As for the rest, my concentration wavered, and I felt they lacked that energy I usually see from the band. The majority of the tracks are too short. They don’t get a chance to get going before they are over. This album might be ideal for those with a short attention span, but I personally prefer a record that keeps my interest with longer, more elaborate songs, with at least 4-5 verses.

I wanted to like this album, and I have listened to it a few times, but I can’t get into it. Yes, it treads familiar ground, but the tracks are far too short, as mentioned. I don’t want to hear songs that are ideal for TikTok. I prefer longer songs that have more substance.

I’m afraid I will have to give “From Zero’ a low mark. It just doesn’t do it for me and has nothing to do with Emily. I thought she was excellent. Despite that, those who review it will all be guilty of measuring it against the former guise of the band, and I am no different. It isn’t fair, but you can’t help doing it. As mentioned earlier, when a band loses such a key member, it seldom feels the same or works out. Queen probably being the only exception. I hope the band continue as Linkin Park regardless and gives everyone time to transition. Their live shows have been amazing with Emily, so I am sure this will work out. You can’t really measure them on this record. Let them be more experimental on what follows. Then, we will know if the legacy remains intact, and I believe they have the potential to do so. And on a final note, why was the album so short? It lasted almost 32 minutes. They might as well have released this over 4 EPs.

Song recommendations: ‘IGYEIH’, ‘Over Each Other’, ‘Good Things Go’

5/10

Week 44: Tyler the Creator- Chromakopia

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I first heard Tyler the Creator in 2011, when he did ‘Trouble on My Mind’ with Pusha T. I liked what I heard from both. Since then, I have been following Tyler’s career closely. I especially like his live shows and his on-the-bone lyrics. I enjoyed his last album, “Call Me if You Get Lost”, for his flow over great instrumentals. “Chromakopia” sounds like the previous record, but Tyler is showing more of a human side rather than the usual “I don’t give a fuck” we associate with him. The sleeve, where he wears a mask, represents this new phase in his life. He tackles various subjects, including multiple people in a relationship and how material items are more important than spiritual ones.

The opener ‘St. Chroma’ should set the tone for most of the album, but it sadly drops off badly as we reach the halfway point. He tries his best with originality on ‘Darling I’ and ‘Jude Judy’, trying to recapture the essence of 2019’s “Igor” but falls short. However, he finds that on songs like ‘Noid’ and ‘I Killed You’.Unfortunately, I found most collaborations to be lacking, with the exception of Daniel Caesar on ‘St. Chroma’, and Lola Young on ‘Like Him’. These are the only tracks with features that don’t rely on autotune. While Tyler the Creator attempts to explore more diverse themes, he seems to struggle at times. However, there’s no denying his delivery and passion. The bonus track ‘Mother’ stands out as my personal favourite. It’s a deeply personal ode to his mother, a heartfelt narrative of the trials and tribulations she’s faced. This track, more than any other, showcases Tyler’s caring nature.

Tyler is excellent, as always, with his flow and delivery. Where it falls is on the production. “Chromakopia” isn’t a bad album because Tyler makes the most of it. Although, as I have mentioned, the production isn’t all that great, the listen still flies by.

Song recommendations: ‘Mother’, ‘St. Chroma’, ‘Like Him’

7/10

Week 29: Eminem- The Death of Slim Shady (Coupe de Grâce)

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He titled it “The Death of Slim Shady” perhaps because he anticipates his alter ego will face repercussions for the controversial content of his latest album. 

Eminem is like marmite. You either love him or hate him. I am in the former category. I believe he has retained the same magic he had in his prime. He had a period of lull until 2010, when the fire in his belly reignited, and he stopped catering to mainstream pop.

His blend of dark lyrics and infectious choruses has always been his strength, especially on “Marshall Mathers LP 2,” which resembled its predecessor and the 2011 album he made with Bad Meets Evil.

Comparing to his previous record, “Music to be Murdered By”, one can’t help but notice Em’s shift in focus. He seems to be more determined to be the fastest rapper around, a departure from his previous style that many fans have come to love.

I may have mentioned in the earlier review that Slim Shady was making a comeback, but this album definitely solidifies that statement. This record embodies his alter ego from his early days, where he simply doesn’t give a fuck who he offends and goes after those who have pissed him off.

Who didn’t love Slim Shady? His alter ego was a breath of fresh air for rap and music in general at the time. Suddenly, we had an artist who was wicked, heartless, and offensive, yet with a hint of comedy. Everytime his words hit the microphone,  he caused controversy.

Eminem knows that his early records would be considered controversial in today’s culture. With “The Death of Slim Shady”, it seems like he is attempting to address that by revisiting his past and reflecting on the most controversial aspects of Eminem and Slim Shady.

No one is off-limits on this record. Em takes shots at and mocks a variety of individuals and groups, including trans, disabled, and dwarfs, as well as politicians, fellow musicians, and the late Christopher Reeves. Eminem challenges Slim Shady, the alter ego, on why he targets these individuals and groups. He reminds Em that his controversial nature initially propelled him to success.

Eminem questions why he was so controversial, and now, as a man in his early fifties, he is also in turmoil over whether to remain that way or be a bit more sympathetic. 

As the album reaches halfway , Eminem confronts Slim Shady and shoots and kills his evil alter ego. The question of whether it is all in jest remains, as he vows revenge for those he has annihilated on wax in the past. His lack of mercy for Machine Gun Kelly is evident, taking him out without hesitation. But beyond the personal drama, this album has a significant impact on the music industry. It’s a moment that will be remembered, a turning point in Eminem’s career. Therefore, I do not believe that his alter ego is six feet under.

My favorite is ‘Evil’. This is not for the faint-hearted. It showcases Slim Shady at his peak with controversial verses and impressive delivery.This is Slim Shady at his peak with his delivery and controversial verses.

In the song ‘Lucifer,’ Slim Shady is once again courting controversy by comparing himself to Satan. The song begins with Eminem realising that he needs to eliminate his alter ego because that aspect of his personality will not be suitable for his career in today’s world.

Guilty Conscience 2’ is where Em will kill Slim Shady because he has had enough of him and realises he is bad for his career. Slim Shady,a persona created by Eminem, goads him in the track, reminding him that through Slim, he had the power to say what was on his mind without thinking about the consequences. This relationship between Eminem and Slim Shady is complex, with Slim Shady representing Eminem’s darker, more controversial side. Angered by the constant goading, Em shoots and kills Slim. However, he then wakes up to realise it was just a dream. From here on out, the rest of the record was Em taking control and the end of Slim Shady. Returning to an earlier paragraph, is this the end of Slim Shady and a more caring side of Eminem? I do not think so. Expect Slim Shady to return on the next album.

I love that his personas haven’t spared snowflakes and Generation Z. We need some refreshing attitude to return to society. Of course, racism, fascism, and insulting people with disabilities are a bit far, but Eminem and Slim Shady have always been controversial. We need more controversial and outspoken artists in the current industry. If you didn’t like this record and were offended, then hahaha, too bad, Snowflake.

Song recommendations: ‘Evil’, ‘Lucifer’, ‘Guilty Conscience 2’

7/10

Week 28: Kasabian- Happenings

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The band nearly had their secret show at Glastonbury this year exposed by a social media post. Frontman and guitarist Serge Pizzorno was alerted by a plumber about the post after he was asked about the show. The band has been touring with their new frontman Serge, playing songs from their debut album( Under Serge, anyway.)as well as their classic hits since 2022. Last year, they released the lead single “Algorithms” from their upcoming album, so fans have been eagerly anticipating new developments.

Unlike some, I’ve found the band’s transition after Tom Meighan’s departure to be seamless. While Serge’s new material may be more influenced by hip-hop and rap, his stage presence is truly captivating. As the previous album review highlighted, Serge is a natural frontman, exuding energy and connecting with the crowd. This, in my view, has significantly enhanced the quality of the shows. I also admired the band’s willingness to explore new musical territories with the previous record, particularly Serge’s take on hip-hop and grime.

We start with ‘Darkest Lullaby’, and it’s a start that’s bound to catch your attention. A captivating groove, rich with funk, instantly transports you back to the disco-funk era of the 1970s. But here’s the twist- this isn’t the hip-hop-infused track we might have expected under Serge’s leadership. It’s a refreshing departure that’s sure to intrigue you.

This is followed by the second single off the record, ‘Call’, which has been out since February, so the fans will be familiar with it. I cannot wait to hear how this one does in a live show because there is a chant there, which Serge will encourage the crowd to join in with. It also makes you want to get up and dance. A short, punchy track, ‘How Far Will You Go,’ follows; it is just under two minutes and is the ideal track for you to upload on TikTok and join the fun. The tempo is then brought down for the serene ‘Coming Back to Me Good.’ 

The album maintains a mellower pace with ‘G.O.A.T’. This track, inspired by Serge’s solo material, SLP, is a potential game-changer for Kasabian’s sound. Whether it is embraced or not, this influence is likely to be felt. The track also carries a darker vibe towards the end.

The track “Passengers” by Kasabian has a vintage feel. It includes a strong rhythm section with Ian Matthews on drums and Chris Edwards on bass. Additionally, it features great guitar work by Tim Carter and Serge’s trademark harmonies.

We then move on to “Hell of it”. All there is to say is that it’s vintage Kasabian, featuring the audience participation chorus.

The penultimate track ‘Bird in a Cage’ is simliar to ‘G.O.A.T’- Mellow yet dark.

The album closes with the leading single, as mentioned in the first paragraph. It is simply an uplifting track. It complements the whole record in a nutshell. My only complaint is that I feel Serge has been bullied into abandoning the new Kasabian we heard on “The Alchemist’s Euphoria”. This one seems to have taken a backward step and is more vintage Kasabian, reminiscent of their earlier, more rock-oriented sound. That isn’t bad, but I’d rather Serge steer the band with his vision rather than what the purists want. I also found it underwhelmingly short, with the album lasting just 28 minutes. Most of these songs could easily fit into an extended play.

Song recommendations: ‘Call’, ‘G.O.A.T’, ‘Passengers’

7/10