Muse

Week 39: Biffy Clyro-Futique

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Welcome to the review of Biffy Clyro’s tenth album, “Futique”. Astonishingly, the band have been around for thirty years. My introduction to them was way back in 2010, as I suspect is the case for the majority of us. The record is once again an album that’ll lend itself to a headliner at a festival like Download or their local TRNSMT as they look out to thousands on Glasgow Green. Not only that, but they also have their own tour in vast arenas like the Hydro. In a world that is frequently bleak, Biff shines a light with a record full of headbangers, momentarily taking us away from the gloom.


The record features 11 standard-sized songs. The opener, which many of you would have heard on their current tour, at festivals, and on the radio, ‘A Little Love’ delivers fierce energy over a positive message. The band have been quiet for four years, which is their longest lull to date. Many wondered if they would return after “The Myth of the Happily Ever After,” but instead, the band spent a period of reflection, dealing with personal issues, and James Johnston was unfortunately confined to his bed. Simon Neil and the Johnston brothers, James and Ben, bring this into a sharp focus on “Futique”, albeit mainly over the kind of rock we know them for. As with any album, there is the odd downtempo ballad thrown in.


What is interesting about ‘A Little Love’ is that, although it is unmistakably a Biff track, it has more of a pop element to their usual raw sound. Despite the cleaner sound, it does not detract from the fact that it boasts excellent lyricism and a catchy chorus that’ll be belted out when they perform it.


The band have come a long way since being teenagers plying their trade by learning Nirvana songs in a pokey garage. However, that spirit hasn’t been left behind, as evidenced in the second track, ‘Hunting Season’. A track that calls out anyone who tries to be a people-pleaser. The track reminds me of Muse, for their rebellion, and The Hives, for their confidence, but the band still maintains its identity—an anthem for those who wish not to conform and remain true to themselves.


’True Believer’ tells a story of being a band member and what it’s like returning to familiarity after a lengthy period. The individual in question is frontman Simon Neil, who realises that being in a band with the brothers is what he still wants to do. The production itself features xylophones and a more complex style of drumming.


Of course, as with every album, there is the obligatory ballad, and the band’s one is the aptly named ‘Goodbye’, where they bid farewell to their latest era, where James ended up bedridden through mental health, as mentioned earlier in the review. The track also addresses the bad habits of killing time while being in the band.

The track is followed by the more upbeat ‘Friendshipping’, where romantic and platonic relationships are at the heart of the matter. Of course, that is balanced by ‘A Thousand One’, where mistakes lead to the end of a relationship, and then another ray of sunshine enters with ’Two People in Love’. That one is self-explanatory.


This is Biffy in their domain, where they show confidence and are more than happy to share their life experiences, including their personal struggles. The record does not have the best start, but that is more a result of the production rather than the exemplary songwriting.

However, as usual, they return to form as the album progresses. What is refreshing about ‘Futique’ is that Biffy Clyro have not phoned it in to get money out of the fans, but rather have thought it all through and released a record that is more than a match for their back catalogue.


Song recommendations: ‘Hunting Season’, ‘Two People in Love’, ‘True Believer’

9/10

Week 35: Muse- Will of the People

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Regardless of what I am about to say in this review, I have always found Muse hard to listen to their studio work. However, they are beyond amazing live. I thoroughly enjoy their spectacular headline shows at festivals. I saw one particular performance from the current “Will of the People” tour, complete with lasers, great visuals, hypnotic guitars, Matt’s futuristic jacket and a robotic hand where he somehow manages to know the correct swiggles to draw on the touchpad of the glove to form the melody.

However, despite their failure to create their live shows in the studio, what cannot be ignored is their lyrics and subjects—the subjects ranging from anti-establishment, pro-freedom, and sex. Not many people talk about the drummer Dominic Howard, but he more than compliments Chris Wolstenholme’s bass wizardry and Matt Bellamy’s versatile vocals that also sometimes ape the guitar. The Devonshire trio have been going since 1994 and released their debut “Showbiz” in 1999. However, it wasn’t until 2001 and their second record, “Origin of Symmetry”, that the band started to get noticed, with ‘Plug in Baby’ charting just outside the top 10. Their biggest success chart-wise is ‘Supermassive Black Hole’, where Chris does the whispered chorus. They are yet to get a number one, but that isn’t a surprise when you consider they are more of a live band.

Amazingly, “Will of the People” is their ninth studio album and their most politically charged to date. This could well be told from Matt’s perspective, but it is a worldview. We are sick of the society we currently reside in and grow angrier with the establishment. 

The opening track is the title track, which acts as a call to arms to start a revolution against the establishment. I first heard this as an introduction song on their current tour. They may now perform it rather than the studio version playing before they go onstage. The song features a baying crowd over AC/DC-esque guitars with Matt with venom in his vocals that he will lead the revolution and overthrow the establishment, which is quite apt during the current climate. It certainly got my attention from the off, at least.

The leading single is ‘Compliance’, which I had heard during this particular concert I watched on YouTube, and I have to say, I loved the concept behind it and the thought-provoking lyrics. However, this time, Matt does it from the oppressor’s perspective. It is also a condescending dig at the establishment.

One thing I loved about the album is this revolutionist vs oppressor topic over futuristic melodies, with Matt muting the chords with his palm; synths and elements are taken from the Weeknd. There is even room for them, once again, to pay tribute to Queen with ‘Liberation’. What do I mean? It just sounds like Queen from the instrumentation to Matt’s vocals. This is Another song told from the perspective of the people determined to revolt.

However, there is a turn of events on ‘Ghosts(How Can I Move on)’, which, at first listen, I thought had Chris Martin (Coldplay) on vocals. The song screams all things Coldplay. The disappointments come on ‘Kill or be Killed’ and ‘Won’t Stand Down’. Although the songs have great titles, they sound more like a messy breakup rather than fighting for one’s freedom from the establishment.

Muse, like several others, are pretty adept at recycling their songs. Although they have been written and recorded over the past year, they still sound familiar, as seen in ‘Won’t Stand Down’, which sounds similar to ‘Supermassive Black Hole’. ‘Verona’ reminded me more of U2, particularly Edge’s riffs. Going back to Muse recycling, ‘Euphoria’ sounds like ‘Time is Running out’ vs Donna Summer’s ‘I Feel Love’.

My standout is the closer ‘We are Fucking Fucked’. The lyrics are delicious and aptly mimic the tone of what we all feel. We are fucking fucked, and the lyrics expressed that with mentions of world war, et cetera. It also sounds a bit like ‘Knights of Cydonia’, albeit there is no call-to-arms, but rather a pessimistic view of not being capable of sorting out this shitstorm we are all in. What a way and a statement to end the album.

However, I found the record quite disjointed and a mishmash of Muse’s past work slightly reimagined. The messages are also contradictory because Matt is asking for a revolution, yet then is rather pessimistic, moaning and unwilling to do anything. Again, Muse has made an album that is only for the live arena. As I said, their studio work does not ape the effort put in when they perform live.

Song recommendations: ‘We Are Fucking Fucked’, ‘Will of the People’, ‘Compliance’

6/10

Week 33: Kasabian- the Alchemist’s Euphoria

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Serge Pizzorno was born to be the frontman since Tom Meighan’s valid departure. Serge has been brilliant taking on the role during the current tour. Seeing the band and the ferocious levels of energy Serge brings has been a pleasure. The new album incorporates the S.L.P., which is the solo moniker of Serge. Here is the reason why in a track-by-track review coming up shortly. Firstly, I would like to say that maybe the purists will not like this new-sounding Kasabian, but for me, it works. You have elements of hip-hop, grime, indie/alternative rock, and futuristic sounds. 

Now, onto the review. I am not sure how this will play out; I might get carried away, or it might be short. Bear with me:

ALCHEMIST:

STOP SHOUTING! You discover that the majority of the titles are stylised in block capitals. The opening track is the sound of waves crashing, which is unusual for an album by Kasabian; however, this is under Serge’s command. Serge sends a clear lyrical message about the direction the band is heading under him. The lyric ‘Shut the door on your way out if you’re leaving’ is a clear message to those fans who dislike the new dawn because It IS a new dawn.

SCRIPTVRE: 

Unlike many of you who saw the band perform live, my introduction to the new Kasabian was when they appeared on the Spring edition of Later…with Jools Holland. I loved Serge’s energy during this performance and how he had the audience, fellow artists, and Jools Holland in the palm of his hand. I loved the attitude in his vocal delivery/ rapping and the profound lyrics that indicate the onus now put on him. This performance alone showed me that the band were in safe hands under him.

ROCKET FUEL:

The first track that reflects the remnants of the old Kasabian in terms of how it keeps your attention; the track is more suited to beat break with 808s, hi-hats, and hip-hop( Expect a lot of hip-hop and grime.).

STRICTLY OLD SKOOL:

Serge again touches on the changing of the guard and how he brings a sense of originality to his concept for the band.

ALGATYR:

Another track that was performed on Later…with Jools Holland. The vocal sound effect is adopted by bands such as Muse, who use it significantly in their “Supermassive Blackhole’ song. The overall sound is powerful, and Serge’s rapping could efficiently be utilised over a grime beat. Another song full of energy and lends itself more to grime than Kasabian’s once rock sound.

AE Space:

Why, oh, why do artists/ bands do this? I have no time for interludes/preludes. They are nothing but short throwaway tracks where either the lyrics were not built upon or simply the writer(s)couldn’t be bothered. These intermissions, to me, are merely a “Fuck it. That’ll do” moment on an album.

THE WALL:

A melancholic song about relationship troubles.

T.U.E(the Ultraview Effect):

This one has the essence of a Pink Floyd song and certainly takes its roots from progressive rock.

STARGAZR:

Futuristic sounding track with keyboards gives it that space feel before completely turning on its head after the halfway point and becoming more hip-hop that you would have heard in the 1990s. Not surprising when you consider that Serge would have grown up with that kind of hip-hop being a young kid in the 90s.

CHEMICALS:

Now, I did hear this one before the album was even named. I believe they were performing in Glasgow. I remember seeing this on YouTube. Serge’s message is, “It’s going to be tough without Tom, but stick around, and things will improve under me”. It’s more a song of assurance addressing the fans.

AE Sea:

Another pointless interlude includes the sound of the waves crashing. A moment of calm, if you will, on the record.

Letting Go:

The acoustic guitar makes an appearance to close out the album. A song of what’s been has passed. Serge talks about the past, referring to the old Kasabian and the future with him at the helm. He even brazenly adds at the end, ‘It just got better now’. When you hear this record, you will understand why. This is the new dawn, and it’s going to get better. Serge is taking Kasabian into another realm, and you want to jump on the spaceship for it.

Song recommendations: ‘SCRIPTVRE’, ‘ALGATYR, ‘STARGAZR’

8/10

Week Fourteen: 5 Seconds of Summer- C A L M aka Calum Ashton Luke Michael

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5_Seconds_of_Summer_-_Calm

I looked forward to reviewing this as they did a few festivals last year, and the lads from Perth, Australia, were on point. However, they should have stayed as pop punk like they were with their self-titled debut album. Unfortunately, going into the pop arena hasn’t worked with them on this record, and it just sounds poorly produced. It’s pretty much like their previous album, “Youngblood”. This reminds me of that record, as there is little change in direction.

For me, 5 Seconds of Summer is falling into the same trap Maroon 5 did. Maroon 5, when they first got started, were releasing good songs like “This Love”, “She Will be Loved”, and “Sunday Morning”. Unfortunately, then they started making shite like “Moves Like Jagger” and “Phone Booth”. I don’t mind listening to early Maroon 5 material but since 2011? Forget it. I am saying that any song with the potential for 5 Seconds of Summer is being massacred and turned into dogshit. The band have said leading on from their previous record that their inspiration is drawn from the 80s, but I don’t know what section of that era because the songs are incredibly flat and underwhelming. It’s a shame when you consider the producers behind this project, Louis Bell and Andrew Watt, who have worked with Ozzy Osbourne, Halsey, the Chainsmokers, the late Avicii, Post Malone, Lana Del Rey, and several others to significant effect. Unfortunately, this falls into their most minor inspirational works category. I mean, not even U2’s Edge or Rage Against the Machine’s Tom Morello could add anything to this record because the producers, with all their effects, have pissed all over their contributions. I mean, let’s face it, Edge and Tom Morello are very unique in the way they play the axe and are fucking amazing too, but even they couldn’t rescue a lacklustre album. Maybe if the producers didn’t piss about on the songs they featured on, the album might be worthy of its No. 1 spot. It’ll probably get a lot of streams, but that could be people like me who are listening to make a review on it. The number of streams counts for nothing and needs to be a fair reflection of how well an album is doing. The sales of it could be a different story. I hope so; it’s awful.

What’s quite puzzling is that they are actually extremely good live and remind me of Muse. I am not a great lover of Muse’s studio material, but live they are in a different sphere, and those songs take on a life of their own. The same goes for 5 Seconds of Summer. Now, I was still deciding about giving them a chance live, but I was left really impressed with the performance and the interaction with the crowd. It also begs the question, are they with the correct label? Because they seem to want, the band to churn out generic pop shite rather than let them be as creative as they are live. 

I found “Thin White Lies” quite comical for its reference to cocaine, but the songs that really stood out for me were “Teeth”, which has a bass line that sounds like it was inspired by listening to Bloc Party or Maximo Park and “Lover of Mine”, which is the penultimate track for blending an acoustic guitar with dubstep. Those are the only genuine creative moments I heard in the thirty-nine minutes. I hope they consider their options for the next album and move to another label because this company stifles their creativity in the studio. Even though live performances are where it really matters, it helps to add some of what

you pick up on the road to your creativity in the studio. I can’t fault them live, but in the studio, there is much work to do, and they really need to work out what their identity will be on future albums. They need to leave this record label and find one that will let them bring their live qualities into the studio. 5/10

Week Thirty-One: Arcade Fire- Everything Now

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Everything_Now(Continued):

An exciting start to the record. This is more of a short intro as it only lasts for under a minute and is sombre-sounding. Why the title has an underscore? I haven’t got the faintest clue. Arcade Fire may be asked about it during an interview.

Everything Now:

I know the first track was called the same name with the “Continued” added (Not forgetting the odd underscore.), but this is the title track and the official start of the record, if you will. The lyrics, “Every inch of sky’s got a star, every inch of skin’s got a scar”, certainly jumped out at Me. Yes, the track is quite upbeat, but the lyrics that encase it are cynical. The song may be positive, as mentioned, and the lyrics profound, but the message contradicts the joyful sound with lyrics like, “Every time you smile it’s a fake” and “Stop pretending you’ve got everything now”. It is attacking the dreamers who have yet to achieve their goals in life. The most bizarre thing is that we have a Coldplay-esque sound going on with the piano, strings and a choir, which works quite well, and it’s catchy as fuck.

Signs of Life:

Well, this is very controversial, to say the least, with its sexist views. The story told in this song is about a man who stays out late every night drinking. He thinks that “Love is hard, sex is easy”, as mentioned within the lyrics showing that he would rather shag every woman that comes his way and objectifies them than go through all the hassle of love because he just can’t be bothered with it. There’s a Star Trek/Austin Powers seductive bassline to further add to the effect of the theme, though towards the end, the song goes rather odd as you get some Michael Jackson-inspired instrumental.

Creature Comfort:

Another very dark track is evidenced in these two lyrics, “Some boys hate themselves, spend their lives resenting their fathers” and “Some girls hate themselves, stand in the mirror and wait for the feedback”, all delivered by Win Butler with a raging yet melancholic vocal. This could also be about Win recalling the days when he was bullied at school, and he is drawing on his own experiences with the delivery and the lyrics chosen. Both of these lyrics reflect society and are quite philosophical at the same time. I’ve heard listeners saying they are not fond of this track because it is nothing but patronising as Arcade Fire is wealthy enough not to be concerned with any of the subjects they talk about, but it’s a good track, so I don’t care what they think.

Peter Pan:

Well, just like the theme, the music that accompanies the song is very Disney-esque. It would have been great if Arcade Fire had been around when Peter Pan was first released because the music would have fitted the film perfectly. Win also has been a fan of the film and the book since childhood. He even drops in the twee line, “Be My Wendy, I’ll be your Peter Pan”. This song is also about the innocence of youth and being carefree, which we all crave as we get older because, in Never Never Land, we are wrapped in a safety blanket from all the bullshit we eventually have to face after childhood.

Chemistry:

Different from the Semisonic track with the same name. Again, minus the creepy lyrics, this song would be suitable for a children’s television programme with its pop reggae.

Infinite Content:

This would be the name used for the current tour. I didn’t think much of this track. It is very short and seems like an interlude.

Infinite_Content:

Okay. The same song title as the preceding track, but with an underscore (Why???). Again, not much effort has been put into this track. Either Win ran out of subjects to discuss when this was being recorded in the studio, or he couldn’t get any lyrics to fit around the music. Either way, it feels like another interlude.

Electric Blue:

A track that seems like a nod to the late Prince (Or symbol or whatever you want to call him. I prefer Legend.) Why? Well, with lyrics like, “Cover my eyes electric blue, every single night I dream about you”, you can hear Prince writing a song like this, and the whole feel of the track is very Prince-esque.

Good God Damn:

The riff is a bit of eerie disco. The lyrics suggest this song could be about relaxation, where we feel most relaxed when listening to our favourite record in the bath.

Put Your Money on Me:

I enjoyed this song live. Even though it is over six minutes, it works well live, but on the record? It may be too long.

We Don’t Deserve Love:

Another cracking song played live with Win and his wife Régine complimenting each other well. This track is a bit heavy with its religious undertones and your mother lecturing about the mechanics of love and how you don’t deserve it.

Everything Now (Continued):

It’s just what it is, an outro with an easy-listening string section to close out the record. This track is nearly two minutes and thirty seconds longer than the intro.

Overall:

Hmmm, well, I did enjoy the record, but I prefer hearing the band live. Arcade Fire has it when they play live, but I need clarification on the studio-recorded material. It can be pretty condescending, sexist (Which is bizarre considering there is a lady in the band, and that’s Win’s wife Régine) and heavy-handed with subjects of suicide, cynicism and religion. But that is the world we live in, and we should respect Arcade Fire for not being fake and addressing such sobering issues. Like Muse, though, I feel that Arcade Fire save their best for the stage. It’s quite a shame, as I was looking forward to reviewing this record, but I have been disappointed. If I did live reviews, then Arcade Fire’s review would be stellar.

7/10