This is a band I heard initially without even knowing who they were. I only knew once I saw them appear on Later…withJools Holland back in 2013 (I think.). Before then, I didn’t know much about them, and the songs I had heard without knowing who they were neither excited nor annoyed me. I remember Noel Gallagher said, “If Bastille had been around in the 90s, they would have been finished.”…now, I like Noel Gallagher, as regular readers know, but although it probably would have been true with the music around back then, I quite like Bastille. My opinion of Dan Smith and company changed after seeing them at Glastonbury, reading about them, and watching a few concerts on YouTube. Dan knows how to work with the audience, and they put on a great show. ‘Pompeii’ used to drive me around the bend, but that grew on me. I am often caught whistling or singing the chorus when I hear it.
“Give Me the Future” is their latest and fourth album, which has already amassed five singles. That is just below half of the record itself. Once again, Bastille plays it safe (Sort of.)with their usual songs, but there are some elements of new creativity. For example, the opening track ‘Distorted Light Beam’ takes some influences from the defunct French Houseoutfit Daft Punk, which is quite apt due to the band’s name.
According to reports, Dan Smith began embarking on this album before the pandemic started and flirted with the idea of combining Bastille’s sound with elements of futuristic sounds. At the same time, you could argue that it takes something from the 80s. However, due to what has happened since 2020 or late 2019, Dan’s idea of this record has seen fact and fiction become convoluted, to say the least. Everything we believed to be fiction through music might be a reality now. At the moment, no one within any industry knows what is inevitable. We have seen the world shut down during these testing times despite it still spinning. Immense industries have seen companies and businesses suffer or fall, and music artists like Bastille suffered heavily because they could no longer go on tour worldwide. Some music artists signed just before the pandemic or after suffered even more. So, at the moment, it is no surprise a fair chunk of people look at the future with caution in mind. In “Give Me the Future”, Bastille takes all of that away and looks to embrace whatever happens in the future.
As usual, the band set the stall out with their dancefloor fillers to give the listener a chance to escape from what was happening and lose themselves as they mentally picture themselves enjoying life in the club again. We are gradually getting back tothose days and nights, but listening to music that propels us back to those feelings is excellent. Bastille have always beenknown for their hard-hitting subjects shrouded in upbeat instrumentation, and they have done just that yet again. The lyrics are pretty dark, but the instrumentation diverts your attention. For example, in the Daft Punk-Esque opener ‘Distorted Light Beam,’ Dan says, ‘It isn’t enough, if this is real life, I’ll stick to dreaming, come see what I see.’ That is powerful. No one can deny that that lyric reverberates the current feelings the majority of us have. I’d rather escape from the trappings of reality and stay in a dream just for my sanity. My standout has to be ‘Promises’, which is Spoken Word performed by Riz Ahmed over strings and other instrumentation. Why ‘Promises’? I am a spoken word artist, so for that reason alone. I love to hear what poets have to say. Of course, I like other tracks on the album, like ‘No Bad Days’, the title track, and ‘Future Holds’. The latter features Bim, who you will be familiar with if you attend Bastille concerts. Her rich vocals complement Dan’s on the uplifting closer with a message of hope about who cares about the future as long as we all have someone to love and care for us.
The album is also structured cleverly. The listener goes on an adventure where they will be lost but find themselves again. Now, this could be explained by Dan’s love of cinema. He wants the songs to be a cinematic experience rather than music-related. I only know a few bands or artists that use the method. Most tell a story, but not in this manner. I can only think of Clannad or London Grammar in recent times. “Give Me the Future” wasn’t made to pick out tracks and listen randomly, but to listen from start to finish due to the cinematic nature.
Yes, you can listen to any tracks you like. I mean, that’s your choice, but it takes away the premise of the record. Is it their best? Well, it’s up there. Although, it is bloody short for a Long Play. The longest is the title track at 3:39. One thing I will say is, going back to “is it their best?” is that it is incredibly creative, and they have moved with that but have still kept that distinct sound we associate with the band. So, they have yet to complete 360 and lose their identity.
It’s pleasant to listen to an album that gives you hope about the future rather than being bogged down and depressed by the shit we are surrounded by. The record is uplifting and sends you off into a dream.
The attitude adopted by Bastille is one of “Fuck it. Let’s have fun while the world is falling apart”.
Song recommendations: ‘Promises’, ‘Give Me the Future’, ‘Distorted Light Beam’
The best thing about doing this track-by-track review of Noel Gallagher’s High Flying Birds’ fourth consecutive No. 1 album is to recycle bits of the old reviews I have done on High Flying Birds’ previous records. Of course, my views on ‘We’re on Our Way Now’, ‘Black Star Dancing’, ‘A Dream is All I Need to Get by, ‘This is the Place’, ‘Blue Moon Rising’ and ‘Flying on the Ground’ will be my thoughts inspired by others and from Noel, himself. I found myself agreeing quite a lot with what Noel had to say on some of the aforementioned tracks, as you will find out along the way:
Everybody’s on the Run:
Well, from the outset, you know the album will take you on a journey narrated by Noel Gallagher as different swathes of emotion wash over you. The introduction for ‘Everybody’s on the Run’ begins with a snare complete with the angelic singing of the Crouch End Festival Chorus and Wired Strings, with the guitars being played at a sweeping pace to add to the dramatic beginning. Before his vocals kick in, the song starts dropping to a nice, slow and steady pace. Noel delivers the music with a passionate yet desperate tone as he tells the listeners that this song is about holding onto love in the most testing times. The arrangement shows grandeur yet remains true throughout. The bridgereminds the listener that Noel is still very much in touch with rock n roll as it has this element, complete with the Wired Strings playing at an intense tempo. The acoustic guitars amazingly overtake the electric guitars and lead into the final chorus, where Noel delivers his message with pure emotion: a good way and a brilliant start to the album.
the Death of You and Me:
The biggest noticeable thing is that Noel uses trumpets( Actually, it’s him imitating trumpets. However, they are used live.), but it adds a grandiose sound to his credit. Many would be forgiven for thinking he wouldn’t use this method under Oasis as it is not very rock n roll. Well, you’re very much wrong about this song and the albums that followed. Noel remains true to rock n roll, and there are still elements of the Oasis wall of sound alive, and a bouncy tempo seems to put the acoustic guitars into mere significance on this track. It resembles more of a broader version of ‘She’s Electric. Unlike ‘She’s Electric’, this track is sung with mature vocals, bringing new charm and vulnerability, which shows Noel has changed his perspective on life now he is married with children ( No pun intended.), which adds to the track. The middle section is dreamy and catchy as Noel cleverly implants the harmonies of “La, La, La”, which is always a surefire winner as it is uplifting and infectious to the listener’s ear. The end section is dominated by the creeping brass, reminiscent of the jazz you hear from New Orleans as the song jauntily continues to flourish. As Noel added the infectious sing-a-long harmonies, the track would go down well when he took it out on the road, and rays of lights from phones and cigarette lighters get held aloft in unison when the introduction begins. Hopefully, we will see those moments again when High Flying Birds next go on tour.
AKA…What a Life!:
The song pays homage to Noel’s days at the Hacienda, enjoying the vibes as Acid House shook the building to the core. Noel uses a piano riff throughout, which is also a trait of a great house track that embeds itself in your memory bank and never leaves you. Noel has a matter-of-fact nature with an evil twist that’s switched onto the world air about him. As he heads into the chorus, he sings with a raised voice and at the top of his lungs, emphasising the word “life”, making it sound elongated to “liiiife”, which is the very last word of the chorus. An ear-piercing guitar solo finds its way in after the chorus, acting as a link before the verse. The guitar solo sends shivers down your spine. It’s not exactly something you would expect on a Dance-esque track. The song ends on a soft “woo-hoo” repeatedly as the music doesn’t end in a flurry, but rather a gentle come down as if you were back at the Hacienda as the last acid track is played and faded out to end proceedings.
if I Had a Gun…:
This was the biggest eagerly-awaited track from the debut album. There were guitar tutorials and even remixes since the track was leaked online during an Oasis soundcheck from their ill-fated final tour. The soundcheck may have sounded sketchy, and remember, the song was stripped back then, but now the song has lived up to expectations. Actually, no, it HAS exceeded the expectations it was burdened with. A piano and an acoustic guitar accompany Noel’s vocals as he sings in a fragile yet moody and restless tone, “If I had a gun/I’d shoot a hole into the sun/And love would burn this city down for me (or you. Depending on where you are in the song.).” A song that sounds in the same vein as ‘Wonderwall’ is complete with a slightly different chord change and melody. Haunting backing vocals add to the whole structure of the song. Electric guitars also lead us into the first chorus, where he delivers the line “Scuse me if I spoke too soon( Again, depending on where you are in the song.)/ My eyes have always/ Followed you around the room/ Cause you’re the only/ God that I will ever need/ I’m holding on/ and waiting for the moment to find me” with pure conviction, which is apparent throughout. It is also an ode to his wife, Sara. The lyrics will undoubtedly ensure the song stands the test of time (It has so far.)and remains a timeless classic long after we have all departed. Even when the instruments start to catch up with Noel and surround his vocals, he maintains his delivery and doesn’t succumb to arrogance as the song goes on. That reason alone shows that Noel deserves all those accolades and his place in music history. It also shows his maturity as he maintains his delivery from start to finish. In that sense, it might be a departure from Oasis, but it still has the sound of Oasis but is more grown-up. This song will(and has proved to be.)a hit with people who didn’t even like Oasis; it appeals to everyone across the music spectrum. It has also proven to be a crowd favourite, with the crowd singing along.
in the Heat of the Moment:
Once again, the house piano riff is back but veers away entirely from a house track once it kicks in. The chorus is very punchy as Noel sings it from the top of his lungs.
Riverman:
The opening track from the 2015 album “Chasing Yesterday” involves a count-in before surprising the listener with a space jazz guitar riff. In Noel’s own words, the song was inspired by a night out with Morrissey when he heard Brian Protheroe’s ‘Pinball’ for the first time despite growing up when the song was out. Initially, The song would be something different until he heard ‘Pinball’, and this track is undoubtedly a nod to Brian.
Lock All the Doors:
It was a song that had yet to be completed to Noel’s liking since it was first written in 1992 and featured on an Oasis demo tape with the bootleg freely available online. Noel was never delighted with the introduction, verse, or bridge that surrounded the chorus, and like ‘Stop the Clocks’ and ‘(I Wanna Live in a Dream in My)Record Machine’, he has returned to it and turned into a song that he feels is now worthy of featuring on an album and be played live. The song sounds like typical Oasis choc-full of attitude, and the guitars turned up loud. The arrogance in the song is much more reminiscent of ‘My Big Mouth’ from the 1997 album “Be Here Now”. This was one of the few songs that Noel wanted Oasis to play after that tour. This is the closest Noel has got to the Oasis sound since he embarked on his solo journey.
the Dying of the Light:
It’s in the same vein as a Smith’s song with its melancholic sounds despite the lyrics fusing melancholy and love. It was the ‘If I Had a Gun’ moment of “Chasing Yesterday” and, indeed, an ode to his wife. It is also a chill-out moment as the listener cools off after going mental to ‘Lock All the Doors’. Whereas that song is fast, this slows down drastically, with Noel playing the chords steadily.
Ballad of the Mighty I:
The ‘AKA…What a Life!’ track of “Chasing Yesterday” in a sense, although it does have differences. The chorus is incredibly catchy. Something that Noel mastered during his time with Oasis. Noel sounds younger than his years on that album, especially on this track. Despite all the drugs, cigarettes, and alcohol, the time has been kind to him and still given him a voice (If not more robust.) that he can use today, unlike his younger brother, whose voice started to decline after 2003. Johnny Marr also perfectly features a guitar solo on this song, which completes the song. A further note on the chorus: you will find yourself humming or singing to it.
We’re on Our Way Now:
An exclusive made for the record at Noel’s brand new Lone Star Studio, King’s Cross, London. The track is produced alongsideex-High Flying Birds Jeremy Stacey’s twin, Paul ‘Strangeboy’ Stacey. Noel has stated the song is about leaving unsaid things when you don’t get to say goodbye to someone. The song has a breakdown section reminiscent of Andreas Johnson’s 2000 track hit ‘Glorious’. It’s a folk song but done in a Noel way, with its melancholic theme and an upbeat tempo as the track goes on. It also reminded me of ‘AKA…Broken Arrow’ off the 2011 self-titled debut album. I was surprised to hear Noel return to something similar to that record. I enjoyed the strings on this and the female harmonising by Jess, Charlotte, and YSÉE. I don’t care what anyone says; those ladies make the High Flying Birds richer in sound.
Black Star Dancing:
I have heard some extremely cutting reviews of this track, but I like disco funk and enjoyed it. I will also add that it is highly elementary to play on the guitar. Nile Rodgers happened to be at the same studio when High Flying Birds recorded this, and if Nile says it’s brilliant, it is fucking brilliant. The man is the king of disco funk. Noel said the title is inspired by the late David Bowie’s final album “Black Star”. He also said that he was watching Top of the Pops 2 on BBC 4 on a Friday night, and ‘Let’s Dance’ by David Bowie came on, which inspired him to write this. Noel also said he was humming the bassline on a trip to Tesco Metro of what would become this track that has angered many hardcore Oasis fans who can’t accept that High Flying Birds are making music that is far more than stadium rock. Once again, I loved the female members’ vocals and how they sounded like they were from the era when disco-funk was at its peak.
Holy Mountain:
So, just like what was featured on “Riverman” from the sophomore record, “Chasing Yesterday” from 2015 (Yes, I said, “Sophomore”. So fucking what? I’m writing this, not you.) We hear a horn section featuring. This was also the lead single to promote “Who Built the Moon?”. It’s a bit bubble gum pop but is exceptionally catchy. You will get the chorus stuck into your head.
A Dream is All I Need to Get by:
I remember hearing this when I acquired it for DJing, and I was taken aback by how different it was to ‘This is the Place’ the EP from where it is from. You can hear twinkling castanets accompanied by Noel’s acoustic guitar and haunting vocals; the song grows and gets grander as you enter the chorus. Of course, the track is inspired by the Smiths and particularly by Noel’s good friend Johnny Marr. The song is chilled out and dreamy. It also sounded great live when High Flying Birds recently performed at the Duke of York Theatre, London.
This is the Place:
The track name came when he looked at fellow Mancunian Tony Walsh’s poetry book ‘This is the Place’. Noel asked him if it was okay to use the title, and Paul felt honoured. The song is the leading track off the EP with the same title and the second part of the “Wait and Return” EP series. You can tell that Noel has followed on from his experience working with David Holmes by making music he likes to listen to and turning more experimental as he goes on the journey with High Flying Birds. Any songs like this wouldn’t have been welcomed in Oasis by a specific member and the narrow-minded fans who only expected a particular type of sound. This track is hugely psychedelic with spacey synths, bongos, piano, a guitar lick that gets in your head, superb female vocals (Especially by YSÉE.), and something that former Creation Records label mates Primal Scream would have put on an album in the early 1990s. You could say it was inspired by Noel’s nights at the Hacienda.
It’s a Beautiful World:
It’s incredible what effects you can use in the studio. Because of the way sound effects are used to make his voice sound muffled, complete with reverb (Is that the word I’m looking for?), I haven’t heard on the live version, in the warm-up concerts, or on Later…with Jools Holland in 2018. Nonetheless, it still worked live. This track could be described as both cosmic pop and psychedelic. You have a breakdown section before the solo where the touring member, Charlotte, speaks in French (Noel said it was too late to change the spoken word when Charlotte said she mentions the end of the world. Noel did not like that and would have preferred “It is not the end of the world” to tie in with the feel-good vibes of the record.) It is also worth noting she plays the scissors on this track (Yes, that’s correct. The scissors. Fucking mental!).
Blue Moon Rising:
No, it’s not a track about Manchester City. Yes, it does have ‘Blue Moon’ in the title (Obviously.). It is another disco track inspired by Noel’s viewing of Top of the Pops 2. His vocals accompany synths and relaxed guitars. The lyrics are not up to much, but Noel has a knack for taking your attention away from that with the production (Yes, sometimes Noel can write simplistic or minimal lyrics, but hold your attention with the music.). The track is relaxed and leaves the listener open to their interpretation of the meaning behind the lyrics during the verse. Still, in the chorus, Noel shows his outstanding vocal ability as he bellows it at the top of his lungs. You can see this live as theveins bulge out of his neck. His voice has got stronger as he gets older. The way he sings at the top of his voice has yet to cause noticeable damage.
Dead in the Water(Live Rté 2FM Studios, Dublin 2015):
Well, those who yearn for Oasis love this. This track was recorded off the cuff on-air at Rté 2FM Studios in 2015 during an interview and short performance during the “Chasing Yesterday” tour. Is it completely improvised? As Noel says at the end of the track, as the presenter asks him. Well, I don’t believe him. It was far too polished to have been made up there and then, especially when you hear the keyboard solo by Mike Rowe. There’s no way Mike could have done that without getting a feel for the track. This song talks about Noel looking to hold onto a love that seems hard to recover. Apart from the whole chorus, the standout line is where he talks about having no money while looking at a photograph. Now, who can this be about? Because he had plenty of money when he met Sara. Is this Noel reaching out to someone in the past? Was it written for Louise in his Oasis days, and has been given new life? Whoever it is about, it is compelling lyrically and reminds me of the sort of song by the Smiths that would have inspired him to write this. This is classic Noel, though. He is singing with a tint of melancholy in his voice and laying his soul bare.
Flying on the Ground:
Noel best described this and took the words out of my mouth when he said this track is a nod to Burt Bacharach with a Motown twist. Because it is. We know Noel has given nods to Burt in the past, but not yet with High Flying Birds until this exclusive track. A member of Noel’s team told him to put this out as he always plays it in the Sour Mash office. Thank God, whoever that person is, because I loved how Noel fused Motown and his love of the great songwriter Burt Bacharach. Again, the female members stand out, and it is refreshing to see Noel letting them showcase their vocals alongside him—a feel-good way to end this latest record by Noel Gallagher’s High Flying Birds.
Song Recommendations: This was extremely tough as they are all strong tracks, but after much consideration, ‘A Dream is All I Need to Get by’, ‘Flying on the Ground’, ‘Dead in the Water’
I have waited ages to listen to and review another Paul Weller album. I was delighted to have found out that he worked on it during the original lockdown. Paul told Charlatan’s Tim Burgess that he was bored and needed something to do. He also told Tim this might be his final album (let us hope not.). It’s great that some artists took the opportunity to be productive while isolated last year. Funnily enough, just as he started work on this one, his previous record, “on Sunset,” was not far from being released. The album begins with ‘Cosmic Fringes’ which sounds like electro-pop straight out of the 80s. You know, bands like Roxy Music, Heaven 17, or the Human League would have done. The end catches you by surprise because it stops without any warning. That sudden ending would last until the third track. From then on, the tracks would fade out.
‘Glad Times’ was like Paul went into a time machine and returned to the studio with the Style Council, and ‘Testify’ is a blues and gospel track with flutes. ‘Cobweb Connections’ is a sublimeacoustic song, and ‘Moving Canvas’ is like hearing Paul playing songs from the “Stanley Road” era. I didn’t find much Jam-inspired music in there, though.
The album is just a mix of several genres; younever know which way Paul will take you with it, which will keep your ears entertained. It’s great when a record is made that way. You don’t want a predictable album; you want something that will surprise and differ from the track you just heard to keep your interest. The cover and the name certainly had me fooled. I was expecting an album full of cosmic pop or psychedelic. Even the title “Fat Pop (Volume 1)” screams that the record will be focused on those two genres. It’s more like a trip down memory lane with influences from the Style Council, the Paul Weller Movement, and everything after 1992. As I said earlier, I didn’t notice anything the Jam might have done. It also has Volume 1 at the end of the title. I would like to know what volume 2 will be like.
Now, as I said earlier, the album is spontaneous and will keep your ear, but at the same time, if you do not find that concept interesting, you might lose interest as it might start to annoy you.Personally, that’s on you because it didn’t annoy me in the slightest. I loved the way the record was spontaneous. If you enjoy dipping your fries into your Strawberry milkshake (Thanks, Siân. Watch this space on her. She might well be presenting a radio show soon, and trust me. Her taste in music is eclectic.), then you will enjoy how this album works. Many may argue that the tracks on “Fat Pop (Volume 1)” simply do not work without structure due to its spontaneous nature. Well…I liked it, and it’sentirely different from a Paul Weller LP.
Despite how the album is structured, either to your satisfaction or not, there is no denying that Paul still has that fire burning to be creative after a 44-year career. One minute, Paulis in the 60s playing with the Rolling Stones, and the next, he’s back in the Style Council with songs like ‘Glad Times’. That is how Paul approached every session with spontaneous songwriting. It certainly makes for an exciting experience when you listen all the way through for the first time. You cannot knock it because Paul Weller is far from finished with business despite what he told Tim. How many albums are there left in him creatively? Who fucking knows. Going by this, he still has plenty more on the way. The only thing stopping Paul is if he decides to retire of his own accord.
Song recommendations: ‘Glad Times’, ‘Cosmic Fringes’, ‘Testify’
Many of the purists of the duo may have been concerned when they opted to change direction and sound like a combination ofFranz Ferdinand with their disco-punk and Tame Impala with their psychedelia. Still, they didn’t have much to fear because it hadn’t affected Royal Blood all that much sonically. You can still hear their fundamentals shining through and their spirit. There is something for everyone on this latest album, four years on from “How Did We Get So Dark?” For example, ‘Boilmaker’ sounds like your typical Royal Blood song.
‘All We Have is Now’ is a piano ballad that closes out the record, ‘Either You Want It’ is a track right out of the Tame Impala psychedelia manual, and ‘Million and One’ is a moody love song that is uplifted by the disco akin to Franz Ferdinand with synths included to the mix to give the track flesh.
Mike Kerr was inspired to experiment with this album after quitting alcohol and talking to Josh Homme from Queens of the Stone Age about what sort of new elements he and Ben could do on the next Royal Blood record. Through this newfound confidence since becoming teetotal and the advice given by Josh, Mike removed the direction from the second album. Once again, the lyrical content is strong across all subjects, ranging from self-reflection love, despair, and hope.
I preferred the final track, ‘All We Have is Now,’ as my favourite, with its sense of calm and melancholy. It is a piano ballad and the only one on the record. As the album starts with ‘Trouble’s Coming’ and maintainsthat energy level consistently, although some psychedelia might be chucked in, it is apt to end on a soft and calm note. I would like to see this added to the encore’s final song on the forthcoming tour (Whenever that is) to temper the fans before theyhead home. As for the direction? It hasn’t soured their identity, and nor will I think the purists will be pissed off with it. You can still tell it’s Royal Blood.
Song recommendations: ‘All We Have is Now’, ‘Either You Want it’, ‘Million and One’
If you don’t know who Tom Jones is, I have yet to find out where you have been. The man is an absolute legend in the industry,and although that term gets saturated and loses its meaning, it is entirely true when it comes to the Welsh king of Pontypridd.
I not long ago finished his book this year, which I highly recommend for the fascinating insight you get on his life and how he went from a rat-infested apartment he was sharing with his original band in London to his very own mansion in Surrey after that hit, which wasn’t written for him was then put in his hands to bring to life. Tom went to Las Vegas and befriended the late Elvis Presley when he sold out days and nights doing the club and hotel circuit. However, with that came the barren years where Tom wouldn’t release new material and the rumour across the pond that he was dead due to lack of activity. It was when his manager Gordon Mills passed away, and his son Mark took over and revived his career. Mark had rescued his career from obscurity by scoring chart hits and working with several new artists. He performed on Jonathan Ross’s Channel 4 show, the Last Resort, in the 80s, which regenerated interest back home, and from there, he hasn’t looked back as his career has got even stronger than when he first came into the limelight.
He was even signed to the same label as Tupac Shakur in the mid-90s. How is that for a story? Tom regularly saw the Death Row entourage while he frequented Interscope. Unfortunately, it didn’t work out at Interscope. Still, Tom’s resurgence had begun, and from there, he went on to secure the legendary status his career was in danger of once coming close to losing altogether.
Now, let’s get to “Surrounded by Time”, an album full of covers and a few surprises. Staggeringly, this is Tom’s 40th studio album; when you consider the majority of the 1970s and 80s, he needed fresh material. It is different from your usual record of typical covers. Tom has even dared to show another side to his vocals by adopting spoken word, which I highly admired, and it made me see him in another light I haven’t witnessed since I first heard him many years ago (I honestly cannot remember where and when).
The songs on the record range from Todd Snider’s ‘Talking Reality Television Blues’, Malvina Reynold’s ‘No Hole in My Head’, and Bob Dylan’s ‘One More Cup of Coffee’. Rather than simply being a covers album, it reflects Tom’s life and getting around to the songs he wouldn’t attempt to do at a younger age. For instance, ‘I’m Growing Old’. When asked about performing it, he told Jools Holland he couldn’t have done it at 30 because the song wouldn’t have had meaning, so he planned to wait until his 70s to cover the song, albeit he didn’t until he hit 80. Tom said he was still determining if he would grow old with his lifestyle. But now, when he performs it, you can hear what he was driving at 30. The song is delivered more from the perspective of Tom being old.
‘Pop Star’, which is a Cat Stevens cover, has an electronic 80s vibe to it, ‘No Hole in My Head’ is a bouncy psychedelic rock number, ‘Talking Reality Television Blues’ (Which is my highlight) is brilliantly delivered by Tom through the medium of spoken word with a rock ambience. ‘I Won’t Lie’ is a beautiful acoustic folk song with strings and synths enveloping it, ‘Ol Mother Earth’ is another spoken word track over an ambient piano, and then ‘Lazarus Man’ to close out the record is a spoken word track with like a hybrid of 80s electronica (You know, Orchestral Manoeuvres in the Dark-type stuff) with a psychedelic guitar of which you could imagine the late Jimi Hendrix closing his eyes and getting lost as his fingers work their magic on the fretboard and strings, like the Who meets Led Zeppelin.
I could have made this review an entire book on Tom’s life, but I would have been here probably this day next year before completion. Going back to ‘I’m Growing Old’, it, funnily enough, was released the year of his birth and makes it even more poignant to have it on his latest album. It is also an acknowledgement by Tom that he is nearing his mortality. Still, insteadof letting that reality suffocate him, he is ready to enjoy his remaining years with dignity. Who knows, he might surprise us all and live past 100. Until then, he will continue living his life, enjoying his career his family, and drinking anyone under the table who dares to challenge him.
Song recommendations: ‘Talking Reality Television Blues’, Lazarus Man’, ‘No Hole in My Head’
Blimey, the number ones are coming thick and fast. I remember 2017 when I first started, which was about nine weeks (Thanks to Ed Sheeran). I didn’t have to write a review, but things have changed in the music world since then, and the average number one in the album chart lasts for about two weeks,withthree being the maximum going by last year’s outlook. Well, this week, it’s the Scottish band Mogwai, who I’m still determining when I first heard them. Maybe it might have been through the Electronic Arts FIFA series in the last decade, but this is the band’s first number-one for TWENTY-FIVE YEARS! So, I probably heard them back in the 1990s during their time at the peak of the album chart. What I find pretty fascinating about them is their obscure song titles, such as “to Bin My Friend, Tonight We Vacate Earth”, which features on the album. It sounds more like an album title rather than one for a track.
The record is somewhat original,with only one track with an actual song structure, “Ritchie Sacramento”, which comes in about halfway through. The rest is centred around experimental instrumentation, which makes it quite challenging to review because those tracks tend to be boring without vocals. It’s okay to play on the guitar, drums, bass, piano, et cetera because you are playing it in a bubble, but when it comes to listening to pure instrumentation, it isn’t all that great to hold your attention. In effect, it becomes more ambience when you’re reading or busy doing something like writing a review, for example.
The only instrumental I saw with any variation from the chilled drums, the medium-tempo rock,was “Fuck Off Money”. It sounds like something the tremendous French band AIR would produce with their trademark robotic vocals into the usual Mogwai instrumentation heard throughout the album. That and “Ritchie Sacramento” have any structure, and the aforementioned isn’t structured, albeit with the robotic vocals that gradually fade into the instrumentation. They experiment with the usual instrumentation by chucking strings on “Midnight Flit”. My standout is “Ceiling Granny”, which initially brought me to this record’s attention because I had gone to an online DJ shop and found it under the picks. I loved the rock sound even though it lacked vocals.
Compared to the usual material they produce for soundtracks, this is a lot heavier than that, psychedelic, and just entirely weird with the experimental sounds used. It doesn’t sound like any of their previous ten albums and is a vast departure from their debut.
I recommend trying not to wander off or get yourself distracted when listening to “As the Love Continues” because otherwise,you will not appreciate all the beauty that is contained in it and all theexperimental sounds with all the beeps, strings, psychedelia, rock, the AIR-like robotic vocals and the chilled out drums. As I said, it is a very tough listen because of the need for vocals and structure within the tracks because, in the main, it is like just one big jam session. However, stick with it; if necessary, give it a few listens to dial your ears in.
Song recommendations: “Ceiling Granny”, “Fuck Off Money”, “Here We, Here We, Here We Go Forever”
Here is a track-by-track review of the band’s latest album:
Making a Fire:
Some might say it is a typical Foo Foos track, but not quite. Although you have the usual elements that make that up, I would also classify it as “cheesy pop”, including its hand-clapping and “Na na na” refrain. Despite the element of cheese infused with regular Foo Fighters, it is a very upbeat track.
Shame Shame:
The band recently played some of the material for some lockdown sessions, with this included, so the listener should be familiar with it. We go from a pop chart-friendly song into a full-on rock that will make the setlist when the record is toured, I’m sure of it. The track in question was also used to promote the album and has had an astronomical amount of airplay, which saw it rise to no.1 in the Rock chart in America in record speed.
Cloudspotter:
This one is not a track I associate with the band; I am struggling to think of a song where they have gone into something the likes of the Jimi Hendrix Experience or Led Zeppelin would have made. Yes, this song is inspired by the psychedelic rock of the 1970s. Greta van Fleet would put this on an album rather than the Foo Fighters. It is brilliant that the band has decided to experiment on the record and made a song ready for the floor. Now, I mention him quite a bit in every review, but has the band drawn inspiration from the likes of Noel Gallagher to step back into the 70s and make music with an upbeat vibe?
Waiting on a War:
You think this track is purely acoustic, but as it swells, it turns into a full-on rock track that will shake the foundations of the arenas, especially with Dave Grohl’s in-your-face vocals.
Medicine at Midnight:
The title track is undoubtedly experimental, where the band dips into funk, acoustic, raw sound, and just like “Cloudspotter”, another song ready for the disco. I’m curious if the fans who know them for the natural rock sound will be impressed, but the band has shown how versatile they can be.
No Son of Mine:
They take it back to what the people have come to love them for with this punk-fuelled track sprinkled with Motorhead, whom they are highly inspired by. Indeed, the late Lemmy had joined them on stage as a guest. The message is also one that we can allrelate to. I mean, who the fuck wants war?
Holding Poison:
Dave opts to use reverb for his vocals over choppy riffs and rhythms. It is not a great song on the record, but that’s purely academic when you consider even the shit ones on their strong albums are probably much better than what some of the other artists/bands churn out for most of their records.
Chasing Birds:
This is likely to be the second single and will probably fare better than “Shame Shame” because it is, in effect, the second instalment of their classic and my favourite song, “Everlong”.
Love Dies Young:
The final song off the album, which so far is unbelievably short. All the songs have yet to be near the five-minute mark, which is the norm nowadays for tracks. The record clocked in at just over 36 minutes, a relatively short listen. Also, there are only nine tracks, which is unusual, especially for the Foos. Now, this track might be a typical FF track. Still, I could hear a bassline inspired by New Order or Peter Hook and the Light. It also reminded me of their acoustic ballad that builds into their usual rock style, “One of These Days”, so if you do feel underwhelmed by the shortness and tempo of the tracks, you can be won over at the end of the album, just as you were at the offset. If you buy the deluxe edition of the record, there is a listening party complete with commentary from the band after each track. Usually, this type of thing is saved for DVDs, but you have to admit, it isquite an interesting approach from the Foo Foos.
Song recommendations:“Love Dies Young”, “Making a Fire”, “Cloudspotter”
What can you say about this man? An ex-member of one the greatest bands of all time who has inspired a generation of musicians and bands to break through from Cast to Oasis and even bands to date. Paul is a self-taught musician on pretty much any instrument he picks up. It started as a child when he wanted to play the piano, which his grandad was very fond of, but Paul’s father refused to teach him, saying he would benefit more from learning to teach himself. From there, the rest is history, and Paul, since learning to play by ear, has gone on to be one of the most decorated musicians and songwriters the world has ever seen. He can write a song as if rain was falling from the sky in his native Liverpool (Like any place in England, you will understand what I mean by this.) and is called a genius by his peers even though he openly admits he despises the tag and modesty says “I’m not a genius, I’m just a bloke who writes music.”.
Here is my track-by-track review of his latest album:
Long Tailed Winter Bird:
This is more like one of those throwaway tracks or a track that was added just as filler. There are no lyrics to this song, and the instrumental started as a track for a film upon which Paul made longer and opted to use for the current album. According to Paul, the name was taken from a book he owns about birds.
Find My Way:
Composed initially while listening to the radio in the car, Paul then took his idea into the studio. He still decided to keep the piano but changed the verses to something that worked better.
Pretty Boys:
The story is about male models whom the paparazzi harass, and Paul said upon walking in New York that he saw a line of hire bicycles and came up with the concept that the models were for hire.
Women and Wives:
This blues number on the piano was born after Paul read a book on Lead Belly. He then sat down by the piano with a few simple chords that would fit around blues vocals. From there, he flew back to England to head to the studio and record it.
Lavatory Lil:
This song is about someone you don’t like, probably even hate, and creates a sphere where you exaggerate what they are like based upon your perceptions of them. I imagine Paul did have people in mind but opted for a nameless character to avoid being caught up in a legal battle.
Deep Deep Falling:
It was the longest track on the record at over eight minutes. The track was originally going to be trimmed, but Paul liked the track that started as a jam session, which later the lyrics and vocals were added to so much, he wanted to keep it that long.
Slidin:
Again, this is another track that started life as a jam. This time, during a soundcheck while on the European leg of a tour in Germany. Originally, it was to be used for his 2018 album “Egypt Station” as he liked the riff, but it didn’t work and was therefore half-baked. He returned to it for this record’s studio sessions and added lyrics while chopping and changing several other things but keeping the guitar riff. The title is from Paul watching the Winter Olympics and the commentator saying the term “Sliding” when the sports in question were done on the piste.
the Kiss of Venus:
A psychedelic song inspired by a book Paul was given about Earth, Mars, Venus, and the moon, where the phrase, which later became the title of the song, kept jumping out at him.
Seize the Day:
Another track was created on the piano, and Paul improvised. He built the rest of the song upon some lyrics about Eskimos and ice. From there, he added about the cold days in the chorus and then turned this extremely eccentric song into about enjoying today rather than letting the cold days drag us down.
Deep Down:
Another track evolved from a jam session, and from there, he built around it by improvisation. There needed to be a solid concept in place to write a song from it.
Winter Bird/When Winter Comes:
This track surprises you because it sounds like a continuation of the opening track but then evolves into something else with vocals, drums, bass, and guitar.
Song recommendations: “Deep Deep Falling”, “Slidin”, “Seize the Day”.
My first experience (Knowingly.) hearing the band from Manchester was while I was playing FIFA 06 in October 2005 when “Black and White Town” came on the official soundtrack. Not my favourite of theirs, but it did pique my interest and made me want to check them out. I was probably intoxicated at the time, but I had heard them three years back on Later…with Jools Holland, even before then, if I am being honest. Their songs “Cedar Room” and “There Goes the Fear” were everywhere, from radio to television adverts. Those two being my personal favourites of theirs. Not forgetting their acid house classic “Ain’t No Love (Ain’t No Use)”. Pardon? Yes, that’s correct. Doves started as Sub Sub in 1991 until 1996, when they worked with New Order’s Bernard Sumner. Since then, the members of Sub Sub decided to change direction with their sound and formed Doves in 1998, just after releasing “Delta Tapes” as Sub Sub.
Anyway, this is their fifth album after eleven years on a break, which initially was supposed to be the end of the band after 2009’s “Kingdom of Rust”. Jimi Goodwin even suggested during a gig in 2010 that it would either be one of their last or their last. But he was constantly dropping hints that maybe it wasn’t the end of Doves, a bit like the Stone Roses (Fucking hell. That’s the fourth Manchester band mentioned so far.) it looks like they have split again, but there is no confirmation on the official site or any announcement made. It’s just like Ian Brown with a cryptic quote, but he wants to concentrate on his solo career now. Jimi had been dropping these hints for six years and leaving cryptic messages via social media that maybe Doves were returning. And this year, they announced a string of gigs supporting various artists, but no mention of a new album that features the production of Dan Austin, who did their previous album. This one has been recorded at Frank Bough 111 Studios.
Now, I will do something different than usual with these reviews and do a short but sweet track-by-track review. Kind of a summary, if you will:
Carousels: Reminiscing about childhood experiences, especially at fairgrounds.
I Will Not Hide: Great vocals with a spine-tingling guitar solo. It’s very psychedelic over chill-out style music.
Broken Eyes: Doves, the Smiths, and Toploader. Save for Toploader, it is that typical Manchester sound.
For Tomorrow: Inspired by Portishead with the trip-hop.
Cathedrals of the Mind: a Hymn-like anthem dedicated to the late David Bowie.
Prisoners: Funk with remnants of “Black and White Town”. One that is ready for their setlist for when they go back on tour.
Cycle of Hurt: Returning to their debut album “Lost Souls” in 2000 with this ballad.
Mother Silverlake: An autumnal track that is very much country funk.
Universal Want: A segmented track that goes from acoustic guitar back to their acid house days and into old-school techno.
Forest House: A mellow ending.
Song recommendations: “Broken Eyes”, “Prisoners”, “Universal Want”
Upon doing my research, I was astonished to discover that the band from Kilmarnock, Ayrshire, has been around since 1995, with their debut album “Blackened Sky” released in 2002. I didn’t know of them when the 2008 single “Mountains” was their first to break into the top ten of the singles chart. I only started to know of them after their 2009 album “Only Revolutions” and singles called “Many of Horror” and “the Captain”. Indeed, I was taking my mind off a particular personal matter and helping out a mate DJing and going clubbing, and Biffy Clyro was played almost anywhere I went back in 2010. They have constantly reminded me of A Day to Remember and Alkaline Trio, albeit with an American sound mixed with original Scottish vocals. Since then, their stock has risen, and they are regulars on the festival scene.
This is their ninth studio album, and they were only well-known in the mainstream after 2008. When you listen to this record, you can recognise straight away that you are listening to Biffy, albeit they have given new hope to budding musicians (Especially guitarists and guitar bands.) to show that guitar music is still alive and, therefore, will encourage people to play the instrument still. They have decided to go experimental, too, which is always a good idea for music; it’s always good to freshen up your ideas and sounds. “Celebration” is a testament to that. I never have and never will believe that guitar-based music is dead. From what I see and hear upon discovering new music, it tells a very different story to what the critics have you believe.
“North of No South” opens the album and is gargantuan in sound. It starts with a ferocious tempo that, for the majority of the record, features heavily with crashing drums, rapid guitar riffs, dramatic orchestral sounds, and angelic choirs. “The Champ” is the only reflective moment with this fable of a relationship falling apart wrapped around a piano ballad, and “Space”, which you can see is the moment the phones are held aloft when the band finally get to tour this album to an audience in packed out arenas, stadiums, and festivals.
As the album ends, we enter “Cop Syrup”, which is six minutes and the longest track on the record, with just seventeen seconds of the hidden track “Less is More”, where Simon Neil sings a bit before the song ends. The first six minutes felt like listening to Tame Impala with its psychedelic and experimental feel. If I didn’t know I was listening to Biffy, I would think it was Tame Impala playing an instrumental track. It’s quite refreshing to hear that material by Biffy because it isn’t what they are known for and might indicate the next project.
Song recommendations: “North of No South”, “Celebration”, “Cop Syrup”
Honest Opinions 