Orchestra

Week 47: Adele- 30

~ honestopinions19 ~ Leave a comment

Here is a track-by-track review of Adele’s fourth album:

Strangers by Nature:

As you may have heard, before the record was even released, the primary subject was her divorce from Simon Konecki, which certainly comes across from the first listen. Adele foretells about the sheer agony of what divorce does to one’s psyche. The first track features strings as Adele sings lamentably about what happened. As the song climaxes, you can see the colour reappearing in her life after all that has occurred.

Easy on Me:

Ha! Unfortunately, the day this teaser single was released, I missed the premiere, and I didn’t go searching to hear it because I had the gist of what to expect from the track and the album. I am not alone. The single received mixed reviews, with some saying it was a new era and others saying it was the same old tired song we have come to know by her. So, what is a “typical” Adele track? It involves her beautiful vocals over a piano and the subject of being heartbroken. This track is exactly that. I never knocked her voice because it is impressive, but this song is your signature Adele track.

My Little Love:

Now, we are getting somewhere that is different with Adele. It’s the first song on the record that goes against the grain—a track drenched in soul. However, I found it somewhat disturbing as it featured interludes of Adele having a conversation with her son about how much she loves him, and through all the bullshit, it has been him who keeps her spirits up. It also explains why she left his father. I find that quite creepy, and it isn’t our business to know what Adele shares with her son. I believe a subject matter this deep should be done in private.

Cry Your Heart Out:

Another surprise on the album. Adele is now trying her hand at RnB. The melody is quite uplifting, even though the lyrics are dark. The backing vocals and the ivories tinkling add to the tune’s sweetness.

Oh My God:

An interesting take on her vocals here. They seem to hide behind the chorus when everybody knows her vocals are her most vital asset. It seems off-key to want your most critical asset to pale into the background rather than be the track’s focus. You can hear her vocal range during the verses, so I wonder why she decided to take the attention away from the chorus.

Can I Get it:

My standout on “30” as we hear an acoustic guitar for the first time since “19” (I think.). Before Adele was signed, she played an acoustic in most of her sets in the good old days. The last time I remember Adele playing an acoustic was on Later…with Jools Holland back in 2011. I am unsure if she played it on this track, but it is there nonetheless. It sounds as if Ed Sheeran was involved because it has that kind of technique. Maybe even KT Tunstall because she plays the same way. The drums follow the acoustic as Adele changes tempo as the track progresses. It is by far the most audio-pleasing song on the record. 

I Drink Wine:

I am not surprised by the title going by what Adele used to be like before motherhood. However, the track is more about reflecting on her childhood and finding a way to leave her current situation in the rearview. The lyrics are pretty sad as she looks for the answers to take back control and live life with a sense of freedom as she used to when she was younger. The vocals are straight from the heart—the reason why Adele rocketed to fame in the beginning. I say “current situation”, but that has since changed. That is how she felt in 2018, at least.

All Night Parking ft Errol Garner:

Ah, dear. The one thing I cannot stand on albums. Interludes. All they are are fillers—nothing more, nothing less. I didn’t pay much attention for that reason. All I heard was a piano.

Woman Like Me:

As you already know, the record centres around her divorce, and this song follows that trend. This is Adele not knowing which way to turn (Of course, now she is with Rich Paul.) and letting it all out with us acting as sympathetic listeners.

Hold on:

Something that we have known Adele to do in all her previous records. I do not think she needs to write a book because her life has been covered in songs. However, as the track nears the end, there is a sudden change in tempo with harmonies and an orchestral sound that one would hear in the cinema. This piano ballad sees Adele put her story centre stage. It symbolises light appearing from the shadows in her life during that period and a reason to rise again. 

To be Loved:

The lyrics “Let it be known that I tried” are heartbreaking. It is your typical Adele track, with her raw emotion displayed through her vocals and a melancholy message at the end. It is like she feels her love is never good enough. I don’t know how Rich feels, but it works fine between them now.

Love is a Game:

Not only is IT the album closer, but you sense it is also closure to the divorce. You might hear more about it on her next record, but I think she will have moved on from talking about this horrific ordeal. Adele seems to tread carefully regarding the matter of the heart, which sometimes impacts her future relationships, as she discusses in this song. 



Song recommendations: ‘Can I Get it’, ‘Cry Your Heart Out’, ‘I Drink Wine’

8/10

Week 45: ABBA- Voyage

~ honestopinions19 ~ Leave a comment

Well, everyone knows who ABBA is without even knowing who they are. Now, I am not a fan, but there is no denying that their music is funky and uplifting. At some point, whether at a party, school disco or wedding reception, the DJ has always played at least one of their iconic songs. The band split up 40 years ago, but through the request of Anni-Frid Lyngstad and Agnetha Fältskog, Benny Andersson and Björn Ulvaeus put their differences aside and reformed the quartet for a tour and new album in the here-and-now. 

The record is full of their signature sound, but somehow, they have managed to put a modern spin on it. That is what made “Voyage” enjoyable for me. I expected to hear the same old ABBA but was surprised by how modern yet retro the sound was. It is hard to describe precisely what I mean by this in words. You will have to listen to understand where I am coming from with that statement. There are even two songs based around Christmas, and my particular favourite off the album ‘Little Things’. It is a typical Christmas song with a children’s choir and all the other trimmings of a familiar, uplifting Christmas song. It will compete for the top spot for Christmas because this and the Lathums song ‘Krampus’ deserve to be at the acme. When was the last time an actual Christmas song was at number one for Christmas? I can only think of the Darkness’ ‘Don’t Let the Bells End’ in 2004. 

ABBA’s return has not been a damp squib as you find all four singers singing sublime harmonies with solid vocals. Whatever trials and tribulations they went through in the past have been put behind them as they appear as one on the record. Some bands struggle to see past conflicts, which can appear evident on the recordings of an album or even during live performances. Surprisingly, although the record does sound more modern yet retro with the melodies, the quartet has yet to succumb to the concept of using modern pop chart methods like including a rapper, auto-tune and those God-awful beats. For a start, ABBA has held back a track since 1979’s “Voulez-Vous” sessions. The track in question is ‘Just a Notion’; honestly, it was the only track I heard that seemed like ABBA of old. 

You could say that the modern yet retro sound is down to their use of modern technology. Benny and Björn have relished the opportunity of noodling with the technology that wasn’t available to them in the year of their split (Obviously.). And the retro part? Most of their songs utilise the typical minor to major to minor key. I enjoyed their implementation of strings on ‘Ode to Freedom’, the final track of the album. It is utterly orchestral and a terrific and glorious way to sign off.

There is room for Celtic pop and a ballad about the environment with ‘When You Danced with Me’ and ‘Bumble Bee’, respectively. ABBA foretell about their return on ‘Don’t Shut Me Down’, one of their teaser singles released in September. The other is ‘I Can be That Woman’, a story about rekindling a love lost through alcoholism. The protagonist, portrayed by Anni-Frid, has overcome alcoholism and wants another chance. However, an argument occurs in front of a dog, and she is visibly frightened by the heated exchange. Indeed, Anni-Frid mentions in the lyrics that the female dog jerks every time the male swears at his former lover. Although the song sounds great, the lyrics are far more sinister. Now, you might need to pick it up or pay more attention when listening to the track because the instrumentation conceals the subject’s realism. Still, when you check out the lyrics, you will realise just how sinister the subject is. In a way, it is like the Police’s ‘Every Breath You Take’.

Another favourite of mine was ‘Keep an Eye on Dan’ (If you know why, you already know.). Another quite sinister track where a child called Dan (Again, obviously.) is being dropped off by his mother to spend time with his father as agreed during a custody battle in court. The mother appears anxious to let her son spend time with his father. 

Indeed, as she drops him off, she drives around the bend, punching the steering wheel as her heart aches. It might not be evident during the vocal delivery, but the lyrics depict a mother who is angry, frightened and full of anxiety at the thought of leaving her son in the hands of her former husband/lover. ABBA has appeared as the master of disguising melancholy within uplifting melodies on “Voyage”. The graphic shows should be something else with the broad sounds and subjects offered.

Song recommendations: ‘Little Things’, ‘Keep an Eye on Dan’, ‘I Can be That Woman.’

Week 17: London Grammar- Californian Soil

~ honestopinions19 ~ Leave a comment

As you can imagine, Hannah Reid is once again a critical group member, and I especially liked her vocal performance on ‘Intro’. Many told me before I got the chance to listen and review this album that it had a hint of Clannad about it. Considering Hannah’s Celtic roots, this didn’t surprise me, but I’m afraid I have to disagree with most of their assumptions about this record sounding like Clannad. Yes, ‘Intro’ does sound like a Clannad track used for a soundtrack or otherwise, but I didn’t see much else resembling Clannad’s inspiration. Another three to four songs, but that’s about it. 

It differs from the last album from 2017 because it flirts with experimentation more, adding more orchestral, Celtic, and cinematic sounds. There is a touch of ambience in the album, too. Now, remember I spoke about ‘Intro’ sounding like Clannad earlier? Here’s why. Although Hannah doesn’t sing, she still uses angelic vocalising with her voice while chiming bells, strings, vinyl crackles, and a haunting Celtic ambience dances with her vocalising. Its cinematic feel is glorious to listen to in surround sound and sends chills down your spine with its haunting. It would be ideal for a film based on Celtic folklore. Clannad may have heard this track and might be interested in working with Hannah.

Hannah’s vocals do not deviate much during the entire album. The record then goes from ‘Intro’ to the ‘Californian Soil’ title track. Many have drawn comparisons with Massive Attack on this. 

Still, as always going against the grain, I found some other artists I felt drew more comparison in Alanis Morrisette. Why? Because to me, the riff sounded more like her 90s hit ‘You Oughta Know’ not because of the aggressive vocals or subject matter, but just that. 

After that, a record is packed with Hannah’s trademark vocals, sometimes angelic vocals, synths that are so relaxing you fall into a trance, strings, Clannad-inspired melodies, and sometimes the guitar riff makes an appearance. 

Because of the calming and light instrumentation, you could also draw comparisons to My Morning Jacket. Like the American band, London Grammar has allowed you to sit back, stare at the ceiling, or close your eyes and dream of entering another realm.

Of course, aside from their generic sound, ‘All My Love’ is a cinematic ballad, and ‘Closer America’ is more melancholic than what they usually do. The latter is about chasing the American dream and crushing it with brutal honesty. 

However, I will close on the trackside of the review with ‘Missing’. When I heard this, I instantly thought of Zero 7’s ‘Destiny’ with its downtempo, which felt precisely like the 2001 track. Still, Hannah’s vocals mirrored Sophie Barker’s and Sia Furler’s (Yes, THAT Sia Furler. She came over to England in 1998 from Australia. In fact, it is worth listening to some of her earlier work like ‘Little Men’ and ‘Drink to Get Drunk’). Not only have you got a sense of Sophie and Sia in it, but I am going to say the great Sadé, too.

The lyrical content is centred mainly around Hannah’s fight with feminism and the sexism and misogyny she has encountered many times since joining the industry. It gives more energy and passion to the record because it lets her emotions shine through with conviction. 

The record is quite melancholic for the group, more mature than the previous records, with some tracks fit for a film soundtrack, inspired by Hannah’s Celtic roots and subject matters that need urgent addressing, like the sexism towards women that is still experienced by many within the industry to the present day. As for the Clannad connection? It was less heavily influenced than some people have made out. Like I said, three to four tracks at the maximum.

Song recommendations: ‘Intro’, ‘Californian Soil’, ‘Missing’

7/10

Week 48: Michael Ball & Alfie Boe- Together at Christmas

~ honestopinions19 ~ Leave a comment

There we have it. We now know what the fourth instalment of the next Michael Ball & Alfie record Boe will be called. We should have known that they would do one around the Christmas theme to freshen up the “Together” series. This has also been adapted for the West End and will feature a limited but socially distanced audience during this god-awful worldwide virus currently circulating. I am unsurprised; the lads have again hit the acme of the album chart. The dynamic works well, and it is a joy to listen to them perform covers or traditional songs in their unique way. It has also been bought out as a Christmas present for our loved ones. It is accessible on the ear and lifts our spirits, which we need more than ever.

Of course, the songs have been covered as often as the stars in the sky, but it’s the way Ball & Boe, the orchestra, and that Disney-esque sound have done them.

The album can switch up the mood with tracks ranging from “It’s Beginning to Look a Lot Like Christmas” to “Mistletoe & Wine”.

Just by listening, you can tell the duo had tremendous fun recording this in the studio, and I loved the track “My Christmas Will be Better Than Yours.” you can hear a cheeky and smug tone in Michael’s vocal. The song made me laugh just by hearing Michael’s delivery alone. 

We then have the melancholic tones used for “Have Yourself a Merry Little Christmas” and the showcasing of why this duo works sublimely on “White Christmas”. The closer, “Once Upon a December”, is very dreamy, as I have mentioned about the album as a whole is Disney-esque. Another super record by the lads, the perfect present for the one you love. An album to fill our hearts with joy in one of the most fucked up Christmasses since the second world war.

Song recommendations: “My Christmas Will be Better Than Yours”, “Have Yourself a Merry Little Christmas”, “White Christmas”.

8/10

Week Thirty-Four: Biffy Clyro- a Celebration of Endings

~ honestopinions19 ~ Leave a comment

Upon doing my research, I was astonished to discover that the band from Kilmarnock, Ayrshire, has been around since 1995, with their debut album “Blackened Sky” released in 2002. I didn’t know of them when the 2008 single “Mountains” was their first to break into the top ten of the singles chart. I only started to know of them after their 2009 album “Only Revolutions” and singles called “Many of Horror” and “the Captain”. Indeed, I was taking my mind off a particular personal matter and helping out a mate DJing and going clubbing, and Biffy Clyro was played almost anywhere I went back in 2010. They have constantly reminded me of A Day to Remember and Alkaline Trio, albeit with an American sound mixed with original Scottish vocals. Since then, their stock has risen, and they are regulars on the festival scene.

This is their ninth studio album, and they were only well-known in the mainstream after 2008. When you listen to this record, you can recognise straight away that you are listening to Biffy, albeit they have given new hope to budding musicians (Especially guitarists and guitar bands.) to show that guitar music is still alive and, therefore, will encourage people to play the instrument still. They have decided to go experimental, too, which is always a good idea for music; it’s always good to freshen up your ideas and sounds. “Celebration” is a testament to that. I never have and never will believe that guitar-based music is dead. From what I see and hear upon discovering new music, it tells a very different story to what the critics have you believe.

“North of No South” opens the album and is gargantuan in sound. It starts with a ferocious tempo that, for the majority of the record, features heavily with crashing drums, rapid guitar riffs, dramatic orchestral sounds, and angelic choirs. “The Champ” is the only reflective moment with this fable of a relationship falling apart wrapped around a piano ballad, and “Space”, which you can see is the moment the phones are held aloft when the band finally get to tour this album to an audience in packed out arenas, stadiums, and festivals.

As the album ends, we enter “Cop Syrup”, which is six minutes and the longest track on the record, with just seventeen seconds of the hidden track “Less is More”, where Simon Neil sings a bit before the song ends. The first six minutes felt like listening to Tame Impala with its psychedelic and experimental feel. If I didn’t know I was listening to Biffy, I would think it was Tame Impala playing an instrumental track. It’s quite refreshing to hear that material by Biffy because it isn’t what they are known for and might indicate the next project.

Song recommendations: “North of No South”, “Celebration”, “Cop Syrup”

8/10

Week Five: La La Land (Official Soundtrack)

~ honestopinions19 ~ Leave a comment

Another Day of Sun:

The introduction is upbeat, with a bouncy piano riff and a harmonising female vocalist. I felt warm inside listening to the track and its jazz feel. It feels like something out of a Broadway show or, as I live in England, a theatre show from London’s West End. It’ll certainly get you all dancing. The song ends with a big fanfare, which grows into some car horns.

Someone in the Crowd:

This certainly feels like I am watching a show in the theatre, and I can see many smiling faces around me moving their body and head along to the music. This song also seems inspired by Coldplay’s “Viva La Vida”, and I can hear Chris Martin’s vocals in my head as it bops along to the melody. The breakdown is very sudden and will take You by surprise during mid-song. This is followed by what appears to be clarinets; the trumpets kick in before an array of vocalists can be heard to close the song out.

Mia and Sebastian’s Theme:

A sweet and delicate piano playing introduces (kind of like the ambience You would find in a restaurant to further your experience and enjoy your meal). This is very short and ends with slightly more pace.

A Lovely Night:

The first thing I feel when I hear this is that I am floating on a cloud. Again, a very relaxed song that puts a smile on your face and gets you lost in the moment. I got a sense of Chris Rea’s “Driving Home for Christmas” when I heard this. I love the orchestra; that compliments the jazz piano well. Dare I say it; there’s a slight hint of mild Drum n Bass in this.

Herman’s Habit:

The introduction has a jazzy feel with the Buddy Rich-esque drumming accompanied by trumpets, piano and saxophone. This wouldn’t sound out of place at Ronny Scott’s or the Jazz Café in Camden. Too short for my liking, though. You don’t get a chance to get into it.

City of Stars:

This starts as if it is a lullaby and features the vocals of actor Ryan Gosling. His delivery is done with such conviction that it makes the listener believe he means every word he is projecting with his voice.

Planetarium:

A sweet clarinet accompanied by the harpsichord introduces this song and throughout. It makes me think I’m watching a play somewhere in Italy. After the break, the orchestra takes full effect bringing a very classical element.

Summer Montage/Madeline:

Again, back to the jazz that has featured heavily on this album. I enjoyed this song, albeit it was a short instrumental.

City of Stars:

Part two is with both cast members, Ryan Gosling and Emma Stone. This song is unique from part one because Emma’s accidental giggle made the final version. When they both sing simultaneously, they appear to be synchronised, which shows that these actors can also sing correctly.

Start a Fire:

The only track written on the album by a man that has been around (at least mainstream) since 2005, John Legend and more than deserves his legendary status despite his short time in the mainstream (I would say that 12 years is relatively short compared to most of the legendary music icons). The introduction features an audience cheering and whooping, welcoming the beginning bars of John’s vocals. This has a typical John Legend feel, complete with backing female vocals. There is even space for a synthesiser solo. His lyrics touch on starting a fire in the sense that their relationship (I’m assuming this is some romantic film) can be more than just standard and that they can show pure love and devotion to one another. He could also be talking about passionate lovemaking.

Engagement Party:

The song title suggests that the romance has reached a whole new level, and one has proposed. This song is likely featured at an engagement party they have put on at their house or some other venue—a short piano riff.

Audition (the Fools who Dream):

The introduction is a spoken dialogue by Emma Stone before turning into delicate vocals accompanied by a piano and then later by a full Orchestra. The lyrics mention various expressive arts occupations and a nod to the dreamers, no matter how unrealistic or difficult it might be to achieve their ultimate goal.

Epilogue:

This is one of the most extended tracks heading towards the album’s end. It features snippets of all the songs I have heard so far.

the End:

The shortest song on the album (a mere 46 seconds) features piano, strings and a celestial choir.

City of Stars(Humming):

This is the third and final part of the song that features Emma harmonising with her humming throughout (except towards the end, she decides to “ba” and “dah”) with a plucked acoustic guitar.

Overall:

I have no knowledge (Nor care) of what the film is about; I only reviewed this album as it was number one in the charts. Nonetheless, I enjoyed the soundtrack and moved my head along with the music. I have a very eclectic taste in music, and I love this album’s jazz and classical feel. I still won’t watch the film as it is not my preference, but I would definitely listen to this soundtrack again. All the songs were great, and the actors also did a good job with their vocals, not to mention it had a very West End production aura. Even if the film is not your thing, I recommend listening to the soundtrack regardless. 8/10