It’s funny that people are still crying about what Kasabian sound like since Serge became the frontman. It happens with every single release. The purists have been crying recently about the song they did with Calvin Harris, which I actually liked quite a bit. “Act III” will definitely piss off the purists, but this is Kasabian now, and for me, they’ve still got it.
Let’s do a mini track-by-track summary:
Quiet on Set Please 1m9: An interesting name, but a pointless interlude.
SOULMATE: The proper opener with a darker, heavier groove.
Hippie Sunshine: That trademark Kasabian swagger and energy.
SUPERPOWERS: I like the rather strange video that matches the surreal psychedelia.
GREAT PRETENDER: A busy track with a big pop chorus.
NOTHING BETTER THAN THIS: Catchy one that’ll work live.
mind palace 2m7: Pointless interlude.
SILVER APPLE EYES: Mood shifter.
THE GURU AND THE CRYPTO TIME MACHINE: Very surreal, but fresh.
npc 3m12: More pointless filler.
GLIDE: Slow.
HYPER//RISING: More heavier Kasabian sound.
SAY YOU (CLOSER): A warm closer.
Of course, you’ll have the usual suspects who bitch and whine that this isn’t the Kasabian they fell in love with, but you know, this is Serge’s band now. I like hearing what mad direction he’s going to send the band in with each song, never mind the albums. Why try and emulate what was done almost a decade ago? Serge is moving the band in his own way, and “Act III” has some of that magic from the previous era to keep the balance.
I’m not fond of interludes, and some experiments miss the mark, but the core songs are catchy, energetic, occasionally surreal, and made for live shows.
It probably won’t satisfy the purists, but they can still enjoy anthems like ‘Fire’, ‘Underdog’, ‘Club Foot ’, etc., if they can open their minds and see the band live. For everyone else, keep enjoying the ride.
Song recommendations: ‘NOTHER BETTER THAN THIS’, ‘HYPER//RISING’, ‘SUPERPOWERS’
Have I reviewed Alex Warren before? Probably. I remember discovering him on the radio when ‘Ordinary’ was being played to death, rather than as a social media personality. I imagine on something like TikTok, which I have no interest in being on. He is now considered to be one of the biggest new stars at the moment thanks to ‘Ordinary’. “WILDCHILD” keeps him on the emotional singer-songwriter path, addressing subjects like love, loss, relationships, and, unfortunately, the loss of his father.
I know these songs have deep meaning, but the album just didn’t tingle my ear. Songs began to sound all too familiar. The best examples were ‘Same Stars’, ‘Passenger’, ‘Rescuer’, and ‘I Miss You More’. I have since heard some remixes of some of the tracks, and they are better in that form. I was rapidly losing interest by ‘Only Thing Left’ and ‘Won’t Go Back’. I have heard ‘Fever Dream’ too many times now to even care about it. The songs probably had some good stories behind them, but the instrumentation just bored me.
Even though I knew these songs came from real experiences, the album still didn’t grab my attention. Songs like ‘Same Stars’, ‘Passenger’, ‘Rescuer’, and ‘I Miss You More’ started to sound too similar. By the time I got to ‘Only Thing Left’ and ‘Won’t Go Back Again’, I found myself losing focus. Warren might have good stories, but the music just didn’t keep me interested.
My attention only picked up when ‘Last Time’ came around. It is certainly my highlight with its rock edge. Alex should have done more of that, or at least balanced it better, because the record just feels repetitive.
I understand there was a lot of emotion when making the album, especially on the title track, but it ended up feeling like background music to me. It didn’t annoy me; I simply lost interest. Sometimes it’s worth taking a risk rather than being boring.
I’ve always admired Paul Heaton’s ability to blend clever lyrics with catchy tunes, and it’s not fading anytime soon. Most of “Jenius” is fucking great. I love how warm, lively, and full of personality it is, with songs suited for a sing-along in a pub, rather than to listen to in a quiet space.
I fucking love the Celtic-punk knees-up spirit running through it; songs like ‘Favourite Kind of Idiot’ express that, and I’m so fucking proud of Rianne Downey since I first struck up a conversation with her during lockdown. It’s fucking mental to see her on telly or hear her on a record like this; it’s like a surreal experience. Anyway, back to the song: I fucking love the energy, and how the song feels like it would get messy in a pub when it’s played. ‘She Ain’t Pretty’ is another one that showcases that. Paul also moves through folk, ska, country, and pop without ruining the album’s feel.
Like I said, I am buzzing about little Rianne, and she was fucking amazing on this. Her voice is a perfect fit with Heaton’s. Rianne isn’t just a supporting artist, but a key part of the record. She is great on ‘Favourite Kind of Idiot’, ‘I Want the Job’, ‘She Ain’t Pretty’, ‘Do Not Ask Me’, ‘Don’t Lean on Me’, ‘The Whisky Did’, and ‘Before Before’, and those songs wouldn’t be the same without her. Even though she’s not mentioned on the other tracks as a featured artist, she is clearly there. I recognise that voice anywhere.
There are also trademark tracks like ‘Sad Songs and Lawsuits’, which is ska-influenced, and ‘Can’t Get Next to You ’, the opener sets the tempo for the rest of the album. It also has an American pop-punk intro. ‘Jet Black Sky’ is more atmospheric before the album’s catchy and energetic tracks return.
I can’t remember which track it is towards the end, but there’s a nod to the guitar riff chorus of Jimi Hendrix Experience’s ‘Voodoo Child(Slight Return)’. Anyway, all 15 tracks matter; there’s no filler here. Paul hasn’t lost the knack for writing about relationships, drinking, people, politics, and speaking his mind. The lyrics are often observant yet funny, but the production pairs those subjects with lively, fun music.
“Jenius” was fucking amazing. Even when the tempo calms, the album picks up again with that fucking great Celtic-punk energy. My favourites are definitely the ones with Rianne.
I fucking love the record’s warm, funny, melodic, and wonderfully rowdy nature. You can definitely tell that it was a fucking joy to be part of the recording sessions. If anyone hates this, they’re just a miserable cunt. This was an absolute pleasure to listen to.
Song recommendations: ‘My Favourite Kind of Idiot’, ‘She Ain’t Pretty’, ‘Before Before’
Songs that had potential were ruined by too much auto-tune, which diluted the emotion from the record.
Ariana has an amazing voice, but it is buried by Max Martin’s production, which is both distracting and artificial. I have to say, I am also disappointed with him.
Saying that, I believe these songs will work better live if the auto-tune is used sparingly or not at all. The music will have more space, letting Ariana’s vocals shine.
As for “Petal”, it’s utter auto-tune garbage. Don’t even bother listening.
It is undeniable that Madonna has left a lasting impression on pop music. Since her pomp in the 80s, she has always adapted her image and style, changing the face of electronic music, dance-pop, and pop culture.
A career spanning over forty years has kept her in the limelight and flexible, which is why she is dubbed the “Queen of Pop”.
Now, after quite a lengthy wait, she has returned with the soundtrack to “Confessions II”, where she has returned to the dancefloor sound that made the first “Confessions on a Dance Floor” album a big hit, but with a more thoughtful feel.
The production is what shines the most this time. Stuart Price has done a wonderful job bringing bright electronic beats and big club rhythms to life on tracks like ‘I Feel So Free’, ‘Danceteria’, ‘One Step Away’, and my overall highlight ‘Love Sensation’. It has a catchy hook and uplifting production, making it a typical Madonna track. It isn’t up to much lyrically, but the production is enough.
The album focuses on style rather than substance. The music is absolutely brilliant, but the lyrical content is either minimal or repetitive.
Songs that had potential, like ‘Good for the Soul’, ‘Read My Lips’, ‘Everything’, ‘Love Without Words’, ‘Betrayal’, and ‘The Test ’, fell down due to the excessive use of autotune.
However, “Confessions II” may not be her best album, but it is uplifting and fun with plenty of club-influenced tracks.
The songwriting isn’t the best, but does it need to be? The record is all about uplifting production with dance beats, which more than makes up for it. If you are looking for thought-provoking lyricism, then this album isn’t for you. If you want to have fun and get lost in the music, then you are going to love this.
Song recommendations: ‘Love Sensation’, ‘Danceteria’, ‘I Feel So Free’
This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.
The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.
I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.
I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.
I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.
Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’
Paul McCartney isn’t aiming to change the music world at 83 on this album. “The Boys of Dungeon Lane” is purely about nostalgia, focusing on his childhood, old friends, and the places that had an impression on him. The record is melodic, warm, light, jaunty, and maintains Paul’s identity. It isn’t about trying to emulate albums such as “Band on the Run”; it’s more personal than anything he’s done in years.
As You Lie There :
The opener is a soft track inspired by a mysterious guitar chord that he discovered when working with Andrew Watt. It has a reflective yet dreamy feel that sets the mood for the album. If anything, it’s more thoughtful than a memorable opener.
Lost Horizon :
Unfortunately, it’s one of the weaker tracks. The melody is pleasant, though. It feels like this one was added in haste rather than completed.
Days We Left Behind :
An emotional ode to Liverpool. Paul visits the city, his childhood friends, and life before fame. The melody is quintessentially Paul: elegant, wistful, and instantly familiar.
Ripples in a Pond :
This feels like a lost Wings track. Subliminal arrangement, and charming, but it doesn’t make an impression on you.
Mountain Top :
An adventurous, playful, and psychedelic song that gives the album energy. A welcome surprise from Paul.
Down South :
An ode to the late George Harrison that doesn’t get too sentimental. The lyricism is about travelling down the M1, talking to George. A short one, but the lyrics tell a great story.
We Two:
This is an enigma. It could be Paul discussing friendship, love or maybe both. Simplistic songwriting, which Paul excels at.
Come Inside:
Another weak song. Lacking a strong hook.
Never Know :
An underrated song. The melody takes a few listens to get it. On that, it’ll grow on you.
Home to Us :
Paul teams up with his old pal and Beatle drummer Ringo Starr. I am convinced it is just one long chorus, but it’s warm and nostalgic nonetheless.
Life Can Be Hard:
One of the album’s more honest songs. Paul addresses life’s challenges and ageing without making it too grim.
First Star of the Night:
A wonderful ballad with the trademark McCartney melody reflecting his career in the 70s.
Salesman Saint :
A quirky, eccentric, playful, jazz-inspired track.
Momma Gets By :
Paul discusses family and resilience. It may be emotional but not too sentimental, and it doesn’t bring down your mood. Instead, you feel grateful.
Outro:
“The Boys of Dungeon Lane” is unapologetically nostalgic. Paul isn’t trying to do anything groundbreaking. He is just sharing his past with us. The songs, as I mentioned in the intro, are warm, light, and jaunty. If you want to find tracks with emotional weight, then I suggest ‘Days We Left Behind’, ‘Home to Us’, ‘Down South’, and ‘Momma Gets By’.
The theme and sound don’t matter a jot to his loyal fans, and that’s all that matters.
Song recommendations: ‘Days We Left Behind’, ‘As You Lie There’, ‘Never know’
Before we explore “The Essential”, let us take a moment to remember why Michael was more than just a pop star. The guy revolutionised music videos into a cinematic experience; he blended pop with several genres, including rock, funk, soul, and dance. His songs are still played on radio stations, streamed,fill dance floors, and feature on playlists even now.
He began performing with his brothers in Jackson 5 before becoming the “King of Pop”. He then went on to create one of music’s most influential catalogues. His hits were not just merely popular; they became embedded in popular culture.
“The Essential”, released in 2005 and featuring his strongest collection of songs, has been reinvigorated by the recent biopic “Michael”. Indeed, looking at the charts, I can see several of his albums inside the top 20. This particular record covers all bases: the child prodigy, the disco innovator, global superstardom, and the artist who mixed real emotion with showmanship. As you will discover in the review that follows, the classic that stands above all for me is ‘Beat It’. A point that proves why Michael was unstoppable during his short but impactful life.
Disc One:
I Want You Back:
What a great beginning to the Michael Jackson story. Even as a kid, playing with his brothers in the Jackson 5, his vocals stood out. You still feel the energy after all these years.
ABC:
Not one of my favourites. I find it far too cheesy and lacking lyrically.
The Love You Save:
One of the Jackson 5’s unsung hits that deserves more attention. His vocal ability at such a young age is mind-blowing, backed up by a great groove.
Got to be There:
A softer and more emotional part of Michael’s vocal range. He delivers with conviction.
Rockin’ Robin:
A fun track, but again, too cheesy for me.
Ben:
Anyone remember this? I can honestly say I didn’t until I heard this compilation. An emotional and simple track with a surprising sense of maturity, and his vocals add tenderness.
Blame It on the Boogie:
Always loved this dance song since I was a youngster at birthday parties, including the dance moves. A track that never lets go of that uplifting tempo.
Shake Your Body (Down to the Ground):
More explosive disco energy, and another one I used to skank out to back in the day. This was the beginning of his superstardom.
Don’t Stop ’Til You Get Enough:
This was the moment when Michael stepped into his role as a solo icon. It has falsetto vocals, displays confidence, and has a sublime groove.
Rock with You:
A smooth song that is almost perfection. It just glides with ease from the outset.
Off the Wall:
It may sound sharp, but the production of the title track from that album is stylish and relaxed. It captured the wave of late-70s dance perfectly.
She’s Out of My Life:
One of his more vulnerable vocal performances. Instead of letting his vocals sound absolutely heartbreaking, he holds back a bit, which actually adds more emotion to the ballad.
Can You Feel It:
You may remember a late-90s dance track about what someone would like with a chimney on them? Well, this is the track that’s sampled. An uplifting, almost spiritual disco track that’s big and powerful.
The Girl Is Mine:
One of the underrated tracks on “Thriller”, but you can feel the chemistry between Michael and The Beatles legend Paul McCartney.
Billie Jean:
Another floor filler, and continues to be so. One of the best basslines in pop, accompanied by Michael’s hypnotic vocals.
Beat It:
I love this track. Always have. Therefore, it’s my favourite track from the collection. This is one of the greatest pop songs ever recorded, never mind being Michael’s best. I love how it effortlessly blends genres. You got the aggressiveness of rock over catchy pop.
From the intro, you can feel the tension building, and then the drums come crashing in with power. Michael’s vocals follow the energy of the instrumental. Every lyric lands, and the chorus explodes without warning.
Then we have an exemplary guitar solo by the late, great guitar icon Eddie Van Halen to bring even more joy to the listen. The solo is ferocious, taking the track beyond a generic pop song. Eddie may show off his skills, but it’s right for the track, rather than over the top.
‘Beat It” is just one of those timeless tracks compared to a lot of big hits from the 80s, which now sound dated. ‘Beat It’ still sounds fresh, powerful, and bursting with colour. I love the production, its non-stop rhythm, and of course, his vocals are just…brilliant.
This compilation may be packed with hits from every section of his life until the early 21st century, but ‘Beat It’ is beyond magical.
Wanna Be Startin’ Somethin:
A restless and energetic track that sounds alive.
Human Nature:
You may remember S.W.V sampled this for their single ‘Right Here’? Anyway, this beautiful track feels soft and dreamy while still carrying real emotional depth.
P.Y.T. (Pretty Young Thing):
A bright, playful and pure pop joy song that makes you want to dance.
Thriller:
What a great ending to disc one. The ultimate party song that still sounds huge.
Disc Two:
Bad:
Michael’s confidence and attitude bring colour to the track.
I Just Can’t Stop Loving You:
A tender track, which focuses on Michael’s vocals and melody.
Leave Me Alone:
One for the lyricists.
The Way You Make Me Feel:
A warm, energetic, and easy listening track.
Man in the Mirror:
An emotional track that builds with sheer power, and Michael’s formidable vocal performance.
Dirty Diana:
This track is dark, tense, with a good rock edge and, of course, Michael’s vocal intensity.
Another Part of Me:
Upbeat, lively, and stadium-ready.
Smooth Criminal:
The sounds all fit perfectly. Definitely one of the best-produced pop songs.
Black or White:
A political track, but it isn’t in-your-face and a great guitar riff over a pure energetic production.
Heal the World:
Sincere and honest lyricism with a big sound.
Remember the Time:
A flawless groove that’s often overlooked from his catalogue. You can feel the early 90s all over it.
In the Closet:
Mysterious and hypnotic.
Who Is It:
I love the bassline over the dark and emotional track.
Will You Be There:
A huge emotional impact track that feels big and cinematic.
You Are Not Alone:
Always been a fan of this one since 1995. I still own the cassette of this emotional ballad. Michael captures the mood perfectly with fragile vocals.
Earth Song:
Another track that feels dramatic and cinematic with Michael’s fragile and then powerful vocals.
Blood on the Dance Floor:
Aggressive, sharp and full of nervous energy. Not a bad choice to end the album.
Coda:
I decided to review the European edition, because it’s the version that’s widely available this side of the world. What is great about “The Essential” is that it covers all the stages of Michael’s career, from being a child in the Jackson 5 to a disco star, pop innovator, and international icon.
Do not get me wrong, there are a fuck tonne of classics across both sections, but ‘Beat It’ remains my favourite, you know, the way it blends rock, pop, Eddie’s mesmerising guitar solo, and Michael’s vocals bouncing with the tempo. I always look forward to hearing it.
Song recommendations: ‘Beat It’, ‘Blame It on the Boogie, ‘You Are Not Alone’
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’
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.
