Pop

Week Forty-Two: P!nk- Beautiful Trauma

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PINK_-_Beautiful_Trauma_(Official_Album_Cover)

By looking at the record name, you can tell that this will be a very emotional album and could well be autobiographical (It is). It talks about everything from her childhood, marriage, becoming a parent and the trials and tribulations we all face during adulthood.

P!nk said of the record that, even though life is laced with bad moments that can be very traumatic for us, the good far outweighs the bad, and she wanted to convey that message in this record.

She’s right, as the album features 13 tracks with beauty and trauma entwined and how they play out side by side in our lives.

Let’s start with the very emotional “Whatever You Want”, where she talks about hanging onto a fractured relationship by any means necessary. She talks about it being doomed but feels there is light at the end of the tunnel and how it makes her box on and tries to give whoever the man is on this track whatever he wants or needs to make the relationship return to how it began.

“What About us” talks about those used in relationships and how their feelings have been dismissed. “Barbies” talks about how life was so much sweeter, carefree and elementary when she was just in her room playing with her Barbie dolls. However, there’s also a contradiction within this track where she states that she can’t remember how life was more straightforward as a child. Finally, she questions the future and where we all go after all is said and done.

“For Now” is a yearning for a Utopian relationship (I think, that’s the terminology, I’m looking for?) and how to recover how we used to feel towards each other and just press the pause button to remain in that moment always. She also confesses that she is far from perfect, and what she says can cause her to destroy what she has with someone or cut them very profoundly.

We then have the epiphany moment, where P!nk realises that despite all her flaws, she has nothing to fear and can keep going straight down the road rather than looking for other directions on the song, “I am Here”. She might still be scared of her journey, but she’s willing not to stray and battle any storm that might come her way.

You can hear the same sentiment as those above in “Wild Hearts Can’t be Broken”. However, in “Secrets”, P!nk talks about moments in her life she is not particularly proud of regarding relationships with the opposite sex. She is confessing to moments when she has lied and hidden secrets. Indeed, she reveals that the truth is written all over her face, and now, she’s ready to uncover things that you will find extremely hard to take.

With “You Get My Love”, she is talking to her current husband, Carey Hart, and even though she is still not entirely used to the idea of being ready for her marriage, she adores him no matter what and will stand by him through thick and thin to make the marriage last for eternity.

Now, let’s look at one of the best tracks on the record, the title track, which is so aptly named for her seventh studio album. What I found very interesting and poetically tragic is that this song is compared to how you feel when your life becomes consumed by drugs, even though it is clearly about a very toxic relationship. You fall victim to it and become an addict. I find that beautiful yet tragic, but she is certainly onto something when she compares them. Being in a toxic relationship is like becoming a drug addict because even though, you want out, you get sucked back in again and can’t seem to resist another hit even though you know deep down that, you need to get out.

Eminem features in the very volatile “Revenge”. Do you need an explanation of the meaning of the song? The title explains itself, plus you have Eminem on it. What more do you need to know? Eminem is known for very passionate vocals and hard-hitting lyrics. Straightaway, you already know that this song isn’t laced with romance. He talks about how he will avenge his lover after she has cheated on him while using extremely derogatory terms directed at her throughout. I love Eminem, so as you can imagine, I liked this song and the truth about how someone feels when they are wronged in the most heinous way in a relationship.

The next song I will look at is “Where We Go”, where P!nk tells a fable wrapped in hopelessness where a relationship has no chance of surviving what it has already gone through. Not even a divine intervention will perform a miracle. “Better Life” is somewhat pessimistic, and instead of P!nk being in such a loving relationship at present, she feels very insecure and feels that her lover can do better with his life and have a better wife. The fear of this grips her so much

she is tempted to begin drinking and smoking again to an unhealthy level.

Overall review:

What an amazing record. I love the fact that P!nk has told her story through the means of her art and revealed to the listener all about her life up to the present day, which is very rare in a society where so many people in her profession like to put on this mask that all is rosy in their life, not necessarily through their music but how they are portrayed in the public eye. With “Beautiful Trauma”, you get everything from her happiness, confessions, honesty, bitterness, and explosive rage, as demonstrated in “Revenge” featuring Eminem. Some have said they are uncomfortable by her dark side, but to me, it makes her even more genuine as an artist and person. The album is aptly named. 9/10

Week Thirty-Six: The Script- Freedom Child

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the-script-freedom

Frontman Danny O’Donoghue and Mark Sheehan have known each other since childhood, so, as you can imagine, history adds to the chemistry before drummer Glen Power was recruited. Still, the harmony was already set in place, so it didn’t cause any problems with him joining and helping the band further find their wall of sound and identity. Quite predictably, the band scored number one with their debut album back in 2008 in mother Ireland, with hits such as “We Cry”, “Breakeven”, “the Man Who Can’t be Moved”, and my favourite off the self-titled debut album, “the End Where I begin” not just capturing the attention of their homeland, but the world over. The style of music they are famed for doesn’t just revolve around one genre, but quite a few blended, which is pop, rock, hip-hop and r&b, and helped with their sophomore album from 2010 titled “Science & Faith, and then their third and fourth albums, “#3” and “No Sound Without Silence” released in 2012 and 2014 respectively.

On their latest record titled, “Freedom Child”, the band have decided to experiment and take up the challenge of adding different sounds to their tracks and choosing to head down the electronic route this time (No, not the band from the 1990s co-fronted by Bernard Sumner and Johnny Marr). So, after the band took a short break from the scene, have they become rusty, and does this new direction to their sound work for them, or is it a gamble that didn’t pay off?

The record takes no prisoners and is honest, noble and positive. Of course, you are wondering if there is the trademark originality that we’ve become accustomed to with their sound, and the answer is, yes, it is still there but with electronic pop blended into it. Will you love it or hate it being a fan of theirs? Well, it is like marmite, so the choice is entirely yours. Give it a chance, though, because it is still an excellent record, and the message conveyed within the record is their usual love over hate.

The intro is very refreshing indeed. Almost like the band were recording on a cassette recorder as you hear the tape being into the player, and then a bass riff that becomes lodged into your head follows. The record then starts with “No Man is an Island”. A third-person perspective tells the band that regardless of how they feel, he/she is there to help them through. It is noticeable that Danny’s vocals have matured and improved since the previous records as he sings along with the electronic reggae sound.

The next track I will talk about is “Arms Open”, your more traditional song for the Script, where the stripped-back sounds elevate Danny’s vocals while the listener can relax and feel at one with themselves.

I also liked the catchy “Deliverance”, a Sonic Youth-type song with pop added in. It is highly bass-heavy, but it has a fast tempo to capture your soul and make you feel the music instead of losing interest. I also loved the political messages conveyed in this record. Especially the track “Divided States of America”. The name even screams political and controversial as you know, it will be aimed at the current president, Donald Trump. This track encourages everyone in the States to notice what is happening and unite during these times rather than fight against each other. 

The sound used is entirely military-minded as Danny sings over drums that resemble a marching beat you hear at military parades worldwide. He may talk about violence, hate, racism, et cetera on this track, but the ultimate message conveyed to the listener says, “You better reconcile before it is too late, and we become consumed by hate that ultimately end with war and death”.

“Written in the Scars” is an intense track and talks about all the times Danny has been hurt over gently plucked guitar strings that further add to the effect of the subject. The song leaves you with a sense that we should wear our battle scars with pride and how they have shaped us through the years to grow stronger and overcome whatever caused the wounds in the first place. Although a deep track, it is worth noting that Danny sings confidently about the matter. 

This is the standout track on the 14-track album for that very reason. Some of us who have listened to the record might not necessarily live in America (Referring to “Divided States of America”), but we all carry scars from events in our lives that are lessons of life that help us get more robust and wiser when they start to heal. A very sobering track, but a message we can all relate to.

The penultimate track is “Awakening”, which is an interlude with angelic piano sounds that leads you into the closing track, which is also the title track (I’m not even going to divulge what it is called. You should already know if you have been paying attention.), which is kind of like a mantra to remind you to be free, love rather than hate, and always to dream and block out the white noise that surrounds us in everyday life—a very uplifting message to end a very upbeat record.

My only real qualm with “Freedom Child” is that some of the songs could have spent more time in the studio being fine-tuned. Also, only half the album captures your attention, despite the lyrical content and the issues grabbing hold of you. The record as a whole is inspirational and full of honesty rather than being blinded by ignorance, which so many sadly in this world would instead be consumed by, rather than being awake to what is happening. Although I have said that only half the album is worth listening to, several tracks in this review that I have mentioned will capture you and render this album worth a listen and a gamble that has paid off sonically for the band.

8/10

Week Twenty-Nine: The Vamps- Night and Day: Night Edition

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I remember seeing the Vamps (Well, hearing them more, really.) at the Blackpool Illuminations in September 2016 as I walked back from my cousin’s wedding reception to the hotel I was staying in to collect something I needed to bring back to the reception (Slightly worse for wear, I might add.). I was very impressed to hear the Vamps from my hotel to the reception, who were just across the road from both locations. Even more beautiful was that I didn’t even have to pay to hear them perform live, probably for the first and only time in my life. 

Anyway, I was looking forward to reviewing their third album, “Night and Day: Night Edition”, as there is also a song from “Meet the Vamps” that remains stuck in my head from 2014 (I have no idea what it is called, and I can’t be fucked to go and listen to find it.). Suppose you watch the band’s mini-documentaries via various social media sites. In that case, you will notice that the footage features them in the studio playing with instruments and how they want to be perceived as a band rather than a pop act. They also talk at length and in-depth about how they write their songs, which leaves you with plenty of optimism for “Night and Day: Night Edition”.

One flaw with this emphasis on their songwriting process is it’s not about how you write a song, but more the fact that it is good once you have finished. So in this sense, the band was trying too hard to get their point across rather than simply focusing on letting a song form into greatness. It’s like a garage/DnB/grime MC saying, “My mate Matt has a cat called Mack or something like that” It may be coherent and rhyme and even form a basis of a song, but it’s far from fucking brilliant. Fucking awful, in fact, but the point is, it’s basic songwriting and gives an insight into the songwriting process that, as you can tell from the content, is unnecessary to broadcast because it is shite rather than good.

Rendering the footage from the studio of the band irrelevant.

The documentaries lead to their downfall with “Night and Day: Night Edition”, as it is a very disappointing listen and a relief as you approach the end of it. The record is bereft of anything resembling a little existence of a good song, even the best of the bunch, “Middle of the Night” is more like switching the television or radio on as background noise as you are partaking in a spot of DIY. “Shades On” is…in metaphorical terms, it is like the fucking idiot at a party who goes up to all the guests telling shit jokes, or you might say the Colin character portrayed by Charlie Higson from the Fast Show.

“Night and Day: Night Edition” is very short and very poor. The second half of the record, which I presume is called “Night and Day: Day Edition,” is slated for release towards the end of the year to early 2018, and it can’t get any worse from my point of view. As I said, I was looking forward to hearing this, but I have been left utterly underwhelmed and disappointed when I know that the band do have some outstanding and catchy tracks from their previous records. I hope for a vast improvement on the second part of the record. After spending four weeks at the top, this record didn’t deserve to oust Royal Blood’s “How Did We Get So Dark?”. I still expect that the second part of this record will also be at number one due to the following the band has built up since 2014.

3/10

Week Twenty-Four: London Grammar-Truth is a Beautiful Thing

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I liked this album the moment I heard it. The songs are different from their last record, where they were mostly pop and catchy, which is a good thing because I like music that dares to challenge the status quo (No pun intended.). It shows that the band has grown up and taken that leap to try something new, making for a very mature-sounding record. Don’t get me wrong. I did like some of the songs from their debut record, like “Wasting My Young Years” and “Strong”, after being introduced to London Grammar while watching “Later…With Jools Holland”.

It is quite hard to fathom how Hannah Reid dresses when an angelic sound comes from her mouth. Without her, would London Grammar be as successful? Who knows, she is an essential member and at the epicentre. This record has given her more of a chance to shine through with her vocals that were less prominent on the debut record, and in turn, that decision by the band has paid dividends.

Forget the fact that this album lacks any actual stand-out songs that “If You Wait” had, but at the same time, it’s also a good thing because it is more intriguing for those who don’t just see music as pop. Therefore, the record entirely is a great listen. So what if the tracks are mid-tempo, elongated and, on the whole, melancholic? I would instead a mature-sounding record than the fucking shit you hear weekly in the singles charts. This is why album charts are still crucial to the public and the artists because that is where genuine talent who can adapt is found. It really is an excellent record and has serenity in abundance.

Maybe not the kind of album people expected of London Grammar after their debut, “If You Wait”, but the band has shown maturity and moved forward with their ideas and sounds. However, they still have original features that got everyone’s attention, so those who loved “If You Wait” won’t be disappointed with their follow-up. Even if you don’t like it initially, you will grow to love it. If vocalist Hannah is the point of interest on their third album, I will look forward to it. She is certainly the definition of “Don’t judge a book by its cover”.

8/10

Week Twenty: Harry Styles- Harry Styles

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HarryStyles-albumcover

I must admit that even though I could tolerate One Direction for an hour of listening to one of their albums, I wasn’t expecting what I heard on Harry Styles’ debut record. I was expecting more of the same of what One Direction is known for, but this record took me entirely by surprise. I thought Niall Horan would be the one to do a rock solo album; after all, he is known for being heavily into his indie and even covered a version of “Wonderwall” in One Direction, much to the chagrin of several Oasis fans. Still, Harry has gone for the rock route, and it works very well, which I think might appeal to others more than the ones labelled “Directioners”.

The music is heavily influenced by the Eagles, Warren Zevon, Motley Crew and even a little pinch of Elton John. It is a very mature-sounding record for this day and age, and that may be to do with the fact he has grown up since 2011. It could also be down to the fact that now he is solo, he has free reign over his direction and creativity. There’s even country music thrown into the record, which can be heard on “Two Ghosts” and “Sweet Creature”; the latter may be about his ex and country music star, Taylor Swift (Yes, even though her music seems extremely bubblegum pop, Taylor cut her teeth on the country music circuit doing countless gigs before finally catching someone’s ear in the mainstream.). There’s also a nod to Bon Iver with “From the Dining Table”. You can see just by the artists I have mentioned in the review that Harry has a broader taste in music, which we didn’t see in One Direction.

Then Harry has moments of full-on rock with “Only Angel”, drawing inspiration from ZZ Top’s sound. Some raunchy and no-limits lyrics on “Kiwi” crashing against Aerosmith-inspired guitar licks, and then on “Carolina”, We can hear the mid-1990s have influenced Harry—an astounding debut album for those who aren’t really into One Direction. Nonetheless, the record has attitude, swagger and maturity. The influences he has been inspired by are certainly a departure from the bubblegum pop he was accustomed to with One Direction. If this is how he means to go on, he has a tough act to follow with his second record. I don’t think he even cares about those who say these artists don’t belong in the rock arena has to say, neither. If he wants to go in that direction, I think he should be left alone to do as he pleases.

8/10

Week Ten: Ed Sheeran- ÷

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Divide

Eraser:

One thing that struck me when hearing this track is that it has a certain sense of “You Need Me, I Don’t Need You” feel. He foretells how his life has been since he reached superstar status and its effect on him, from those days of just singing in a church, performing in a room to internet viewers and playing out to thousands in well-known stadiums and arenas.

Castle on the Hill:

This song is about being raised in the Suffolk village of Framlingham. It also shows a specific humbleness to the guy who has gone on to be far more in the grand scheme of things. He still remembers where he is from and speaks fondly about the memories he made there.

Dive:

Here, Ed expresses fears about falling too fast into a new relationship. A heartfelt song, which also features some might say a guitar Legend in Eric Clapton. Not for me, but Ed sees Eric as this, and the very first thing Ed performed live in a talent show on guitar at 14 was Eric Clapton’s “Layla”, albeit the rhythm section of the song (He didn’t win the contest, by the way).

Shape of You:

Another song about romance, and this time, it is about praising his lover and enjoying every moment with her. It’s also your typical pop song, which will get stuck in the listener’s head, and Ed puts his hallmark all over it to make it stand out from the rest of the artists in the singles chart.

Perfect:

Another tender moment, which Ed has been known for on his previous albums, makes its way onto “÷”, and why not? This is where Ed shines through and shows his maturity beyond his years. It is also an ode to his girlfriend, Cherry Seaborn. You can’t help but be gripped by the lyrics, “Well, I found a woman, stronger than anyone I know. She shares my dreams, I hope that someday I’ll share her home”. This encapsulates the whole meaning of the song, where you hope your dreams and future are mirrored by the one you have chosen to be your eternal lover.

Galway Girl:

What I love about this is the whole sense of Ireland, from the music, instruments and Ed’s knowledge of the isle. It features an Irish band called Beoga. To think his record company were far from keen to have this rather unconventional song feature on the album because it doesn’t represent a “marketable” product. How wrong they are. Some listeners may not agree with me and find blending pop into Irish music rather insulting. Still, for me, it really works, and I really like this song and can see it featured on many a St Patrick’s Day across the pubs, bars and clubs. And why not? It has an excellent upbeat feel and will help set that jubilant mood on any occasion.

Happier:

This song is relatable to every listener, not just Ed, because it is about finding out your ex has found someone and completing the six degrees of separation. The sixth is when you’re feeling regret and what could have been and that it has hurt you to see someone else in the place that was once yours—a heartbreaking song that will undoubtedly affect you.

New Man:

A comedic side to Ed comes out in this as he indirectly digs at the “bad boys” who seem to get all the women even though they are pretentious arseholes. He also attacks the “meatball heads” you find in the gym pumping iron and blends in funny lyrics about the food they eat.

Heart Don’t Break Around Here:

A gorgeous love song that shows every element of being in love with someone. It also indicates what type of boyfriend Ed is and that he’s that “nice guy”, but I don’t feel who would finish last—some truly witty lyrics hidden within metaphors.

What Do I Know?:

A political message in this where Ed talks about how his status can make a significant difference to the world. He wants to spread unity but also says he must be qualified to discuss politics.

How Would You Feel (Pean):

“Pean” is the middle name of His current girlfriend, Cherry Seaborn. John Mayer features on the track by playing the guitar solo. What more could you want from this romantic song?

Supermarket Flowers:

This is probably one of the most emotionally charged songs on the album. This song is about the feelings you experience after someone close to you has died(in this case, Ed’s grandma and how his mum reacted to the passing the moment she passed). Although this song may be about death, the lyrics are tragically sublime. For example, the song mentions feeling inconsolable but, at the same time, reflects on all the beautiful moments you shared with that person. I can’t say I cried after hearing this, but if you don’t feel anything or stop to listen to the lyrics, then you have a heart of stone.

Barcelona:

Although the song mentions Barcelona, it is really about doing those spur-of-the-moment things during a new relationship. It is a recurring theme in this record, and you can tell that Ed is in a perfect place with his love life. The song even has a Latin feel, and you do feel like you’re in Barcelona when listening to it. Not only is this a great tribute to doing mad things in a relationship, but to Barcelona, as he mentions dancing in the moonlight of the Catalan capital.

Bibia Be Ye Ye:

Ed goes all African here (Ghana, to be exact). “Bibia Be Ye Ye” is Ghanaian for “All will be well”. This track was co-written with Fuse ODG (coincidentally half Ghanaian) and focused on changing a stormy night into a better day. This a mantra we should all live by because, as Sofia Serrano, portrayed by Penelope Cruz, says in the film Abre Los Ojos/Vanilla Sky, “Every passing minute is another chance to turn it all around”. Or to quote 2Pac on “Me Against the World”, “I Know it seems hard sometimes but remember one thing. Through every dark night, there’s a bright day after that. So no matter how hard it gets, stick your chest out, keep ya head up…and handle it”.

Nancy Mulligan:

Back to Ed’s Irish roots. This time he narrates the love story of his grandparents and how his grandfather fell for his grandmother in County Wexford. The track is very knowledgeable about the county and what his grandparents did on their way to romantic destiny—another great song with Irish country music featuring heavily with the Ed Sheeran touch that does it justice.

Save Myself:

Well, the final song on the record jolts you back to reality and pulls away at your heartstrings. Ed once again bares his soul to such remarkable effect. The song discusses all those dangerous friendships where people use you for their own ends and how it makes you feel throughout the duration and when you realise their genuine motives and cut them off and the lessons you have learnt from it from now on. Not exactly going out in a blaze of glory to finish the album, but a great song nonetheless.

Overall:

I thoroughly enjoyed this record, and it is a return to form, and I rate this above his stunning debut album “+”. I didn’t find fault with any of the songs and could play this through without skipping tracks until I am ready to meet my maker. A beautiful album, and the narration from start to finish is more like reading a book than listening to the album. Fucking brilliant, Ed! I have never given ANY record a perfect score until now.

10/10

 

Week One: Little Mix- Glory Days

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You Gotta Not: 

Hello, and welcome to my weekly track-by-track review of the No. 1 albums throughout 2017. Please comment and give me feedback on what you think of my weekly reviews. I will share my honest opinions no matter how harsh they might be, so I am warning you. I hope you enjoy my weekly reviews and wish you all the best in 2017.

Little Mix-Glory Days

Shout Out to My Ex: 

This song celebrates the mistakes you’ve learned from a previous relationship, how you’re defiant with your attitude, and how your ex-partner won’t break you. The Song is laced with irony.

Touch: 

The music reminds me of the latest material by the Danish artist Mø. The song has a very catchy chorus, which is always the best ingredient for a song to become a hit.

F.U.: 

Well, there are no prizes for deciphering the meaning of what “F.U.” stands for. I’m not a fan of this kind of mainstream music, but this song has a rather blues-induced vibe. The lyrics are about hating someone you can’t seem to kick(no matter how hard you try), yet you have managed to be dragged back into falling for them with, as the song mentions, “sweet talk”. It also sounds like it was influenced by songs such as “Unchained Melody” or “Earth Angel” when You hear the sound the lyrics are immersed in.

Oops ft Charlie Puth: 

A nice animated piano riff and melodic whistling introduce the song. The Saxophone also adds nicely to the sound. It is a very upbeat track and falls into what I would define as “classic pop”.

The song sounds like the Calypso genre inspired it. The Saxophone makes an appearance and also Trumpets during the chorus. There is also that classic hook employed (in this case, “na na na”), which I can guarantee will get stuck into your head like most hooks do.

Down & Dirty: 

The song starts with a dance theme before surprising you by going into dubstep and throwing you straight into dance. It sounds familiar to the music associated with lil Wayne’s “Lollipop”.

Power:

The sound of a motorbike can be heard in the introduction leading to excellent, rich vocals in the verse. The chorus falls into the dance genre. The second verse could be better vocally. It sounds more like soft rapping and doesn’t tie into the track’s title; the delivery used wasn’t potent. One of the vocalists chants “motorbike”, which then progresses to a build-up that leads into an instrumental break before the chorus kicks in. The song ends with the motorbike chant again, progressing to a build-up, and then suddenly stops.

Your Love:

I can again hear that the Caribbean has inspired the music. The introduction and verses are relatively mellow, with a steady soft piano riff. The chorus again has that classic pop hook to get the listener’s attention.

Nobody Like You:

A very emotional piano accompanies the vocals in this track. This is undoubtedly the deeper side of the band on the album. It is indeed a departure from the usual music that Little Mix is more infamous for. This is certainly a track worth listening to if you are a deep thinker. I would say that “Nobody Like You” is more aimed at the adult market, and I am sure it will feature during the slow dance moments at parties, et cetera (maybe even as the first dance of the newly married bride and groom).

No More Sad Songs:

This track is a metaphor for life about not letting yourself get down by whatever dire situation you are in but to soldier on through and enjoy being in the moment. As mentioned in the chorus, “I beg you please don’t play no more sad songs”. The chorus lyrics also talk about being wrapped up in the music, and everyone knows that music is an excellent way of healing yourself after any emotional ordeal. Again, this is not a track I associate with the band when I have heard the mainstream charts—another deep number I thoroughly enjoyed.

Private Show:

This sounds like the kind of rnb I listened to in the early 1990s and also featured a saxophone that sounds familiar to the one used in Jennifer Lopez’s “Play”. It is quite an upbeat, cheeky track, and just like a private show, it is too short(the shortest track on the entire album). I would metaphorically describe it as a short but enjoyable lap dance(the lap dance in this scenario being your ears).

Nothing Else Matters:

I remember Metallica had a song with the same title back in the early 1990s, but is this one anything like that classic track? Sonically no. Of course, Metallica is more Rock and Little Mix is more traditional pop. Emotionally? In some ways, it is. The delivery is less emotional than James Hetfield’s, but there are elements lyrically of the emotion that James delivered on that 1990s track. This is a great way to close the album, and since “Nobody Like You”, the album gradually sobers up the listener. The lyrics in the track also touch on the fact that when you’re in a relationship, you’re the only ones who should care what you both think rather than letting others interfere.

Overall Review:

I have to be brutally honest and say that I wasn’t looking forward to reviewing this album due to the fact I can’t stand most of the material that has featured in the singles charts as far back as 2007 and that I thought I would have jumped off a building not very far into this album, but I have surprised myself. I found the album enjoyable and worthy of its current placement in the official UK album charts. The stand out tracks for me were “Power” because I loved the vocal delivery in the first verse, “Your Love”, due to the soft piano riff, “Nobody Like You” shows the band have a very emotional and deep side to their arsenal, “No More Sad Songs” for its metaphorically delivered message, “Private Show” because, it takes me back to my infancy and “Nothing Else Matters” because all of we should heed the message it delivers. 8/10