Pop

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 11: Harry Styles- Kiss All the Time. Disco, Occasionally

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I was thrilled to listen to “Kiss All the Time. Disco, Occasionally”, as I was expecting to enjoy it after his previous album “, Harry’s House”. An album which was fresh, confident, with plenty of memorable songs, and showed forward progression. Unfortunately, this one didn’t capitalise on that forward progression.

I think it was great that Harry collaborated with Wolf Alice leader Ellie Rowsell, but after each track, the energy faded. Even the disco-inspired ‘American Girls’, and ‘Ready,Steady, Go!’ were repetitive and labourous.

Even the emotional tracks like ‘Coming Up Roses’, and ‘Paint by Numbers’ felt more like fillers than highlights.

What is disappointing is that the record lacks the flow and charm that gave ‘Harry’s House’ accolades galore. There are no standouts or big hooks. The songs are just simply there.

Even the closer ‘Carla’s Song’ gives the album a disappointing finish. I was left wondering what happened to all the energy, big hooks, and forward progression that were in “Harry’s House”. Unfortunately, this album is forgettable and unfocused. Very underwhelming from a lad who knows how to make good records.

No rating

Week 4: Robbie Williams- Britpop

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A track-by-track review with a bonus track thrown in:

Rocket (feat. Tony Iommi):

This punchy, guitar-driven opener is the leading single featuring ex-Black Sabbath lead guitarist Tony Iommi. The track reminds me of Joan Jett and the Blackhearts tracks. It’s raw, full of rock attitude, and has anthemic energy. Tony’s solo is the standout moment.

Spies:

The song has a jangly guitar and is mid-tempo Britpop with nostalgic chords.

Pretty Face:

Didn’t like it. Too poppy for me.

Bite Your Tongue:

An alternative rock track with spoken word.  It may feel odd, but it is playful, adding something different to the album.

Cocky:

Stomping glam-rock energy that’s fun with plenty of swagger.

All My Life:

An Oasis-inspired reflective ballad discussing dreams. Providing one of the  more emotional moments on the record.

Human (feat. Jesse & Joy):

Another reflective ballad.

Morrissey:

Co-written with Take That’s Gary Barlow, this tongue-in-cheek track is about Morrissey’s legacy. It’ll certainly divide opinion. The lyrics also might suggest he’s playing the role of someone in love with
the former Smiths frontman.

You:


Same attributes as ‘Bite Your Tongue’.

It’s OK Until the Drugs Stop Working:

I loved this track, and it certainly provided something different. This reflective, self-aware addressing of his past is Divine Comedy-esque.

Pocket Rocket:

An ethereal and dreamy closer of the standard edition.

G.E.M.B:

I included this track from the deluxe edition because it is my favourite. Robbie’s bold, tongue-in-cheek energy is captured perfectly over sublime indie rock, with his cocksure lyricism. It’s fun, bold, and catchy.

Coda:

“Britpop” is not about reinventing the wheel. It’s Robbie showing off to a sound he loved during the 90s, and that influenced him. The record is catchy, energetic, and fun, with songs that’ll become anthems. The lyricism may divide opinion, but this is one of his best albums to date. The title does what it says on the tin.

Song recommendations: ‘G.E.M.B.’, ‘It’s OK Until the Drugs Stop Working’, ‘Cocky’

8/10

Week 50: Kylie: Christmas (Fully Wrapped) 2025 Edition

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WAHEY! It’s Christmas! Where most people are cheerful, and that is very infectious. Anyway, it is no surprise that a Christmas album sits atop of the chart. Usually, Michael Bublé does. At the moment, it is Kylie with an expanded edition of her 2015 record “Christmas (Fully Wrapped)”. The new edition is Kylie stamping her style over new songs and covers. We have effortless vocals that are both warm and playful.

Let’s look at some highlights from the album. I have excluded ’Santa Baby’ and ‘Let it Snow’. I will explain my reasoning in due course:

It’s the Most Wonderful Time of the Year:


As you will discover, most of the songs are like supernovas. Mainly the covers, because they were written in a time when radio plays were extremely short. Kylie does this justice, delivering an upbeat, polished, celebratory tone without going too cheesy.

XMAS:

I guarantee that if you have been near a radio. You would have heard this new track, as it is being played to death, and with good reason, too. Rhythmic, quintessentially Kylie, that blends her modern pop sound into a Christmas theme with ease. This one will be on a future Christmas compilation; it is that good.

Hot in December:


Another new addition, and another standout alongside the previous one. Cheeky, playful, and of course, Kylie stamped. Not your usual Christmas track. I thought the title hinted at the weather in her native Australia during this period, but the lyrics talk about being free and flirting.

At Christmas:


Time for a reflective and tender refrain. Her vocals really sell the story.


Santa Claus Is Coming to Town ft. Frank Sinatra:


I was uneasy seeing that the late Frank Sinatra was included as it can often disrespect the memory, but this felt tasteful. Of course, Kylie’s vocals were exemplary.

This Time of Year:


Another new track, warm and gentle. Another refrain from the upbeat tempo.

100 Degrees ft Dannii Minogue:


The chemistry between the sisters is a sound to behold. You might think there might be a sense of bitter rivalry, but this disco-inspired track is delightful. The sisters give the album a colourful array of fireworks. 



Office Party:


Another favourite of mine. A silly, fun, and light track. The title says it all. If you know the chaos at the office Christmas party, you will know.

White December:


Melancholic and unmistakably wintry. 



Christmas Isn’t Christmas ’Til You Get Here:


An intimate and heartfelt track. Again. Kylie’s vocals shine.



Have Yourself a Merry Little Christmas:


Restrained yet elegant vocals, and that cozy feeling of being by a logfire with mulled wine.



Now, earlier I mentioned why I do not like ’Santa Baby’ and ‘Let it Snow’, and now I will explain my reasoning as to why the record works without them:

More mature

There is no novelty fatigue

Flows better

Showcases more of Kylie’s artistry

Why? Because there is a better balance between playfulness, tasteful covers, and modern originals that serve a purpose rather than overloading the album.

Encore:


What a sublime listen this was. I much prefer this to the original released ten years ago. The record doesn’t have its polished sound when it gets playful, remains stylish, and has that Christmas feel without going over the top. One of the best Christmas albums I have ever had the pleasure of listening to.

Song recommendations: ‘XMAS’, ‘Office Party’, ‘100 Degrees’


9/10

Week 47: 5 Seconds of Summer- Everyone’s a Star! (Fully Evolved)

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No need for an introduction, as I already did “CALM”, the album named after all the members’ first names. So, onto 5 Seconds of Summer’s sixth studio record, “Everyone’s a Star!”. This effort features pop-rock, electronica, and electro-punk over reflective lyrics. The album screams confidence with its identity. It may be modern, but it still has the emotional element of the band and their melodic instincts. Now, I listened to the “Full Evolved” version, which is the equivalent of a deluxe edition, featuring songs centred around specific members and therefore giving it an even more personal listen.

As you know, I reviewed ‘CALM” and this album feels like a combination between that and “5SOS5”. Why? because “CALM” had atmospheric experimentation, and “5SOS5” was more crispy pop. The production features tight percussion, clean vocal layering, synth-heavy soundscapes, and is wrapped in personal subjects such as burnout, insomnia, self-image, and vulnerability.

The emotional element is what makes the record strong. Although there are upbeat tracks, they still have undertones of reflection. The likes of The Smiths and Oasis are known for putting melancholic lyricism over upbeat instrumentation, so they have adopted this approach.

Let us have a look at the standout tracks and give them a kind of track-by-track review. I will also include my standouts from the “Fully Evolved” section, but not explain why. I will leave it up to you to figure out:

NOT OK:


The key track that blends vulnerability with a cinematic hook. The listener will resonate with the theme, as the lyrics express… well. The title says it all.

Boyband:


The lads take a comedic approach to being labelled a boy band since they first burst onto the scene with pop-punk, which is a welcome break from the melancholy on the album.

Telephone Busy:


One of my complaints, which I will highlight in due course, is how short the tracks are, and this is a case in point. A pop track aimed at TikTok viewers, who, let us face it, have a short attention span. A polished earmworm track to say the least.

I’m Scared I’ll Never Sleep Again:


A track addressing the band’s struggle with insomnia, and a slower pace to the majority of the rest of the record. This vulnerable, atmospheric track features a sublime arrangement over emotionally powerful lyrics that will move the listener.

The Rocks:


Gritty and raw, and a great way to end the album. A quintessential 5SOS track.

“Fully Evolved” highlights: ’Start Over’, ‘Wishful Dreaming’, ‘Cool Dad’:


The “Fully Evolved” edition is the most intimate . The tracks, as I mentioned earlier, are specific to each member and therefore more personal, and sound less polished than the majority of the tracks, which, in my opinion, works as a healthy balance. It is also great to see each member tell their own personal stories.

Now, onto something else I mentioned before, and that is how short the tracks are:


Yes, I am impressed by how the themes all tie into the album, but the shortness of the tracks is an obvious drawback.

The standard edition is just over 36 minutes, whereas the “Fully Evolved” edition weighs in at just over 49 minutes, making the listening time that little bit longer. However, most of the tracks are just finding their feet before they come to an end. Bridges, and outros are too short, and some of the songs never reach their entire journeys. This could be achieved by adding more verses or extending the bridges.

Yeah, it does not ruin the listening experience, but on certain tracks, they could have been extended to enhance it. “Fully Evolved” compensates for the brief listen of the standard edition, so I would recommend opting for the “Fully Evolved” edition.

So, my recommendation for ‘Everyone’s a Star!” is the “Fully Evolved” edition. It is emotionally honest, polished, and fits into their wall-of-sound aesthetic. The standard edition is a mixture of pop and vulnerability, and the “Fully Evolved” edition tracks are far from filler, as they take you on a genuinely personal journey of each member.

And once again, let us talk about where the record falls down. The shortness of the tracks. You want to hear more lyricism or instrumentation before they reach their conclusion. The tracks deserve more space to breathe over the quality on display.

The album as a whole is tightly produced, thought-provoking, with melancholic lyrics over upbeat instrumentation, and bonus tracks that act as more than filler,which some records tend to fall foul of.

Song recommendations: ‘Cool as Dad’, ‘NOT OK’, ‘The Rocks’

8/10

Week 41: Taylor Swift- The Life of a Showgirl

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Everyone has been anticipating the release of “The Life of a Showgirl” to determine if Taylor’s engagement has made her lose her creativity, as she might be less likely to criticise ex-boyfriends. The album promised so much, but what I heard was certainly calmer, yet at the same time, quite underwhelming.

It feels like a step backwards from her previous work, lacking the emotional depth and creative spirit we saw earlier in her career. The title suggests something bright, but the record lacks any energy to be considered “bright”. Instead, what we get is Taylor writing an album for the sake of it.


The opening track is a burst of energy that promises an exciting journey. It’s uptempo, with an infectious bassline, and most importantly, it’s original. The track narrates Taylor’s salvation and her blossoming love with Travis Kelce. However, this energy and originality are not sustained throughout the record.

The subsequent tracks lack the depth and musical creativity that the opening track hinted at. ‘The Fate of Ophelia’, ‘Opalite’ offers a glimmer of something more with its sparkling grooves, but fizzles out.


It becomes quite clear from ‘Father Figure’ and ‘Eldest Daughter’ onwards that the album focuses on her ego rather than her growth as an artist. She tries to portray herself as an underdog on ‘Father Figure’ as she did in her younger days. But it just does not work anymore. Her popularity has soared since those days, so she is far from the “underdog.” As for ‘Eldest Daughter,’ well, I am not convinced; she wanted to write this. She is talking about online culture, but it does not feel genuine; rather, she has been coerced into writing about it.

Then, we have the tone-deaf tracks ‘CANCELLED!’ and ‘Wi$h Li$t’, where she attacks her critics, but the song does not land as well; she lives a privileged lifestyle now.


It does not get better, I’m afraid. ‘Actually Romantic’ takes a vicious swipe at Charli XCX (For the record, I do not like her, either), and then ‘Wood’ lacks the charm and wit to be cheeky pop, which appears to be à la mode. She tries to jump on the bandwagon, but does not offer anything fresh. The lyricism alone shows you that she did not feel comfortable attempting to follow the trend. It just is not her style of writing. Probably another attempt from the people above her trying to control her sound. Corporates should leave the artist to use what suits them.


Unfortunately, the record lacks any insight into the “showgirl” persona that the title suggests. Instead, we have pettiness and tone-deaf affirmations. More of the same, really. Her ego has got in the way of her emotional storytelling, which is still within her soul.


Taylor has the world at her feet, and she had the chance to explore new avenues and push the boundaries, but it feels more like an opportunity to make money. It lacks any artistic flair or emotion. Even her partner in crime, Sabrina Carpenter, could not rescue it. Hopefully, she regains her creative edge on the next album.


Song recommendations: ‘The Fate of Ophelia’, ‘Actually Romantic’


4/10

Week 40: Olivia Dean- The Art of Loving

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I planned to start with a brief introduction to Olivia Dean, but since this is quite a lengthy review, I will leave it until next time. Olivia Dean expresses something that is often lost in today’s society. A society full of anxiety, negative news headlines, and anger. Her second album, “The Art of Loving”, asks the listener to take a moment, listen, and find kindness in their soul. Now, I have never done a review like this, but I am going to use bullet points. Let us begin:


Her vocals:


Olivia’s vocals act as a warm hug, inviting you into her world from the very first note. Her voice has a unique duality, speaking directly to you while also addressing the wider world. The light production, featuring acoustic guitars, brushed drums, brass, occasional piano, and strings, further reflects Olivia’s emotional journey. Her lyrics reflect her hopes, dreams, heartbreak, and above all, her enduring kindness, making you feel included in her story.


What question does ‘Nice to Each Other’ ask?:


Of course, one of the standout tracks is her latest single, ‘Nice to Each Other’. The song depicts two lovers at war during their relationship, but of course, the chorus asks them to be nice, even when they shouldn’t, because they are hurting each other. The track reflects these emotions of conflict and reconciliation. The sublime jazz-inspired piano hook causes the track to swell after each verse, before dropping into a chorus where Olivia’s vocals take the limelight over a reverberating snare drum. The production is quite clever here, as it shows us that even through ill feelings, a soft approach can be taken, rather than a knee-jerk reaction leading to a blazing row and plenty of volume.


Her love of lounge jazz to mirror empathy:

Olivia’s passion for lounge jazz is beautifully captured in ‘CloseUp’. The track’s unique features, such as the muted trumpets that accompany her sincere and softly spoken apology, the brushed drums, the laid-back bass, and the saxophone that mirrors the lyrics, make it a standout piece. The profound lyricism is certainly a highlight, but the true beauty of the track lies in how the instrumentation breathes life into the song, creating an emotional connection that allows the listener to find their personal experiences within.

The versatile message in ’So Easy to Fall in Love”:

A track that says let your inhibitions go, but also to tread with caution. The title is apt because it is indeed easy to fall in love, get caught up in the moment, and become naïve to the pitfalls that will eventually occur. The production reflects this by using the electric arpeggiated piano and a bright sound to convey infatuation. Her vocals are once again tender, but warm.


‘Something In-Between’ showing the selfish side of love:


Olivia has created a record full of blissful stories about love, but she was also not shy about discussing the other side of it. She talks about protecting one’s worth and standing her ground to avoid being taken advantage of. The track itself is aptly played in the minor key range, featuring a lightly strummed acoustic over a low synth pulse. Reflecting the sense of being at ease with standing your ground, but also knowing that not losing face can be risky to the relationship.


The three-part coda:


While most albums end with a simple coda, Olivia has included the final three tracks, ‘A Couple Minutes’, ‘I’ve Seen it’ and ‘The Last Note. ‘I’ve Seen it’ is about her discussing love with a conviction she feels has never been done before. One particular lyric highlights this: “I’ve seen the movies, I’ve read the poems, but the real love that sticks is the one that hurts enough to matter”, and she is right. It does. Most romantic songs have an air of pretence about them, but Olivia has done it more genuinely. For the first time, an electric guitar is utilised as it bends, representing a sigh, while a light harmonica blends into the background.

Why the album shines a light on being kind:


As mentioned earlier, we live in very evil times, and “The Art of Loving” illustrates that kindness is often frowned upon in society because it is seen as a sign of weakness, and individuals can be easily taken advantage of. However, Olivia has used it to show that being kind is a good thing and as a form of rebellion.

Let us have a look at the tracks I have been discussing, then what they teach us about being kind:

Nice to Each Other:

Even if we have ill feelings towards someone or something, we can choose to show kindness instead of responding in a way that worsens the situation.

CloseUp:

Before rushing in with all guns blazing, we should take a step back and assess the situation to understand it before deciding on the appropriate action.

So Easy to Fall in Love:

Yes, it is pure bliss to feel in love and grow stronger because of it. It may leave our hearts open, but we should embrace it, rather than see it as a weakness.

Something In-between:

Be in a loving relationship. But make sure you can stand your ground, so one person does not dictate the relationship. The balance will ensure the relationship is healthy.

I’ve Seen it:

Love is not perfect. It has its pros and cons, as with everything in life. Give both the rough and the smooth a warm hug.

The lyricism is profound, and her vocals are like standing next to a warm radiator, making you feel warm and cosy as the songs radiate with kindness. In a world that sees love as a weakness, she sees it as a strength. She does not know the answers, nor does she pretend to, and she refuses to be a wallflower about asking. That is why the record shines a light on being kind.

Outro:

Olivia’s album paints a picture of a world where the need to express thoughts is as urgent as a megaphone’s call. Yet, Olivia’s voice rises above all the noise, calling for whispers of kindness, devoid of any expectation of grand gestures in return. She invites us to listen, to pause, and to harmonise with the gentle sound that embodies humanitarianism. Her goal is to evoke a fuzzy, humane feeling, which she more than delivers. Her message, both thought-provoking and steeped in kindness, is a rare and precious find in the 21st century when it comes to love.


Song recommendations: ‘Nice to Each Other’, ‘CloseUp’, ‘So Easy to Fall in Love’

9/10

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 38: Ed Sheeran- ▶️

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No need for an introduction, so let’s get straight into it. The opener is ‘Opening’, where Ed adopts one of the key things that propelled him to stardom: rapping. Ed talks candidly about how he feels in a precarious place with his career, and frictions are occurring behind the scenes. The vulnerability contained within the lyrics and the flow shows that he is concerned by the events, and does not want them to reappear from his past. This does not set up the rest of the album, as you will find out as you read on.


Ed sticks with the tried and tested material for which he is known, and has so far borne fruit for him. ‘Opening’ seems somewhat out of place. His latest single, ‘Camera’, is a typical Ed track, where he discusses finding an old phone that evokes memories of conversations with all his exes, as well as conversations with his friends who are no longer with us, such as SBTV founder Jamal Edwards. A channel that championed Ed’s rise. The rest of the song delves into his personal memories with his wife, Cherry, rather than reflecting on the past conversations mentioned earlier.


New tracks like ‘In Other Words’ are aspiring to be ‘Perfect’, and my favourite ‘The Vow’, a touching ode to his wife, is reminiscent of ‘Thinking Out Loud’. I also love the uptempo of ‘A Little More’, with the sinister lyricism about hating your exes, and Ed showing little empathy towards them. The lyricism attempts to be humorous, but I can imagine it will not resonate with the Generation Z and below crowd.


Ed momentarily steps into the unknown, and that is where he showcases his versatility with tracks like ‘Azizam’, which combines a club track with Middle Eastern instruments. On ’Sapphire’, he collaborates with the Punjabi superstar Arjit Singh, and he even combines English vocals with Punjabi. He also teams up with Jayesh Kathak for tabla rhythm on ’Symmetry’. Ed shows that, despite being out of his comfort zone, he is willing to throw himself into these new avenues.


It was refreshing to see Ed collaborate with Indian, Khaliastani, and Iranian artists. Despite his claim to be apolitical, this collaboration seems to convey a defiant message that we are all equal, and it sends a pointed message to the far-right nonsense we are currently witnessing. Who cares if his songs preach love? That is exactly what we need more of at the moment. It is also a welcome escape from current affairs.


The final track ‘Heaven’ reminds me of Bon Iver, and I believe Ed has mentioned he is a fan of theirs, so it is not surprising to see him adopt their vocal effect for a second time (I cannot recall which album it was utilised before). Although I would have preferred that he ended on ‘The Vow’. It is such a sweet love song.


The record shows a more personal storybook about his struggles with fame and the music industry, but Ed, quite rightly, also revisits an old path. The last two albums were very heavy, considering what happened to his wife and the deaths of his friends.

He did express that he wanted to make a more upbeat record because of the last two. Hopefully, on future albums, we will see Ed do more songs exploring the Middle East. As for something more personal than he has yet to attempt? If he wants to do that, then that’s up to him. Regardless of the subject, it is likely to reach number one due to his status. Taking a risk in that sense will pay off.


Song recommendations: ‘The Vow’, ‘A Little Bit More’, ‘Symmetry’

7/10

Week 36: Sabrina Carpenter- Man’s Best Friend

~ honestopinions19 ~ Leave a comment

Well, let’s start by mentioning the provocative album cover, where it appears that Sabrina is ready to perform a sex act, and the face-hiding man is pulling her hair. You may have noticed she has done the same pose, sandwiched between two male dancers, on her tour. Also, the record is called “Man’s Best Friend”. Now, everyone knows that phrase relates to dogs, so is Sabrina insinuating women are like dogs? Now, as you know, I reviewed her last album and was left impressed by it, but this one is certainly not for the faint-hearted. Sabrina talks candidly about sex in all its explicit glory, and swears an awful lot.

However, rather than trying to appear controversial, the music has to back that up, but alas, it does not.


Unfortunately for Sabrina, the chart landscape has changed, and once what might have been too much is now seen as tame, which is shocking when we have children as young as four being exposed to the sexually explicit content featured on “Man’s Best Friend”. As I am an adult, I could not give a shit about her saying that, and I found humour within it, but it is not for any child below a certain age to be exposed to.

Additionally, the album is too polished, as evident in ‘Manchild’. I like it, but the production and her wordplay conceal the message that she is trying to convey, so it goes missing. Now, as a songwriter, I am sure Sabrina would want that message to be heard.


Now, I have mentioned the lyricism is both sexually honest, funny, and witty, but that is as far as it goes. Rather than going deeper into the subject behind the songs, Sabrina leaves that up to the listener. Now, this isn’t a bad thing, but on this occasion, it is. She needed to make a connection with the listener about the deeper meaning behind songs like ’Never Getting Laid’, ’Tears’, ‘We Almost Broke Up Again Last Night’, which, as I said, are sexually explicit and contain the occasional fuck word, but there is nothing else.


Unfortunately, Sabrina has sacrificed artistic creativity for commercial outreach. Although the album may have an element of shock value with the lyricism, she unfortunately does not explore other sounds, so you end up with a safe record. On one hand, this could be seen as smart and doesn’t alienate her core fanbase, but on the other hand, the predictability of the subjects and the production on offer takes away the soul of the music. Rather than challenging the listener, she gives them what they want. Well, her core fanbase, at least, but nothing for the casual listener, who will see it as the usual pop album that every female artist is churning out at the moment.


Despite the lack of substance. Sabrina’s vocals are once again incredible, and it’s nice to see her flirt with country music occasionally. She needs to do more of that because she excels in that field. As we all know, despite the glaring flaws I have highlighted, Sabrina will have another successful record under her belt. Yes, it is number one, but it will receive accolades because the commercial market loves an album full of catchy pop songs. That is just how the commercial scene works. It does not matter if the record lacks on a deeper level.


When artists such as Pulp frontman Jarvis Cocker and Lola Young can merge on a deeper level within pop, it is sad to see artists like Sabrina being bound to what pop expects. Sabrina is a brilliant songwriter, and she should have given more behind her barbs to the men behind the album. I believe it is her ex, Barry Keoghan, instead of giving us bitchy lyricism with no deeper meaning. The two artists I mentioned prove that you do not have to be bound to the constraints of pop. Hopefully, Sabrina offers more on her eighth studio record, because she is more than just a pop artist.

Yes, we have catchy choruses and pop-friendly production over a fleeting half-hour listen. Most songs fall well below the three-minute mark. Music that I describe as “TikTok generation”, but there needs to be more to it. Sabrina is capable of doing that if she frees herself from the confines of generic pop.


I would also like to add that you should not let your kids listen to this. They are far too young to be exposed to such sexually explicit content. This is strictly for teenagers and adults.


Song recommendations: ‘We Almost Broke Up Again Last Night’, ‘Manchild’, ’Tears’

5/10