Strings

Week 42: Coldplay- Music of the Spheres (Volume 1. From Earth with Love)

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My introduction to Coldplay was the year of their debut album “Parachutes” at the start of the millennium. It wasn’t ‘Shivers’ I heard either, but instead their classic song ‘Yellow’. While on a break in the common room at sixth form college, I remember hearing it on Radio 1; I think that was the station, and the DJ was Chris Moyles. I loved the idea of someone ready to do all crazy things to prove their love to another. Not to mention the instrumentation itself. Later that day, I went home to do some coursework and download songs through Napster (Remember that?), and of course, ‘Yellow’ was one of the tracks. 

“Parachutes” was a tremendous debut album, and everyone thought they would follow in the footsteps of Oasis, but the band had other ideas from the second record onwards. Indeed, Chris Martin said the band was created in the same image as his idols, U2. U2 upset many people when they changed from punk to make music to appeal to a broader audience.

However, unlike U2, Coldplay is the marmite of music. You know where I am going with this, so there is no need to explain further. Some idiots follow like sheep and believe it is “edgy” and “cool” not to like Coldplay, whereas some simply do not like their music because they changed dramatically after “Parachutes”. I do not care what music they make because I enjoy it regardless and respect their creativity. I have been slaughtered for liking the band. So why do they have such a vast fanbase if many hate them? Well, it all boils down to their live shows. There is something magical about seeing them live. Like U2, they can have the audience in their palm at any stadium and are frequent headliners at signature festivals. Regarding live performances, Coldplay is the second most significant band in the world behind U2.

However, when becoming a considerable stage presence, frontman Chris Martin might have lost his edge to write songs in the studio. Their last album was 2019’s “Everyday Life”, which, in the many accolades the band have received, was a massive disappointment as it was their first album in 20 years not to go multi-platinum. It didn’t fare too well in America, neither where the band are top-rated. “Everyday Life” didn’t get close to the sales made by 2015’s “A Head Full of Dreams”, which featured the likes of Beyoncé, Tove Lo, and their good friend Noel Gallagher (I recommend watching the film of the making of the album, and the tour.) I am not sure why the previous record didn’t do well. Maybe people didn’t like the concept of the band experimenting with African and Gospel. That’s what the band are about, though. Experimentation.

The band didn’t run away after the disappointment of “Everyday Life”. Its poor reception has motivated them to return more robust and show people that they are keeping their standards from slipping after 20 years at the top. Coldplay is still played on Radio One during the pop-friendly daytime, unlike most of their counterparts who have been consigned to Radio Two as their music isn’t “hip enough”. 

To make their presence known, the lead single ‘Higher Power’, which is a track that is the Weeknd-esque with the electronic 80s theme, was premiered in the Mercedes advert to promote their new electric car after Chris had stated the previous year that Coldplay would not be releasing anything until 2022. It took many by surprise; some said that Chris was a hypocrite for saying such a statement and using it in the advert for Mercedes. It also boomed out in the International Space Station. So from there, only a few expected a new album by the band, going by Chris’ comments. Even though ‘Higher Power’ was released, many still expected that to be the sole material released until next year.

The collaborators of the previous record were not acquired for “Music of the Spheres”. Coldplay got Max Martin on board to produce the album and gave him complete control. Max brought in the likes of Selena Gomez and the extremely popular K-pop boyband Bangtan Boys, aka BTS. I also like that London’s Jacob Collier was also acquired. I can imagine the criticism they will get for working with BTS, but Coldplay has always known that the best way to garner new fans and appeal to a broader audience is to remain relevant in the pop charts. Who knows, maybe some BTS fans have been turned onto Coldplay through the collaboration. That is what the band are aiming for. Remember that most music is now streamed via Spotify, so that the streaming hits will propel the band even further.

This is familiar for the band in that they have made tracks like ‘A Sky Full of Stars’ and their 2015 album ‘A Head Full of Dreams’ while featuring guitars was centred around electronica. On “Music of the Spheres”, I noticed that the synths feature prominently and are the loudest instruments. On a side note, some songs do not have names but are represented by emoticons or, as the youngsters call them, “emojis”. You need to go to Wikipedia to have a rough idea of what they are called. For example, the title track is stylised as an emoji of Saturn. Who would know that that planet represented the title track’s name? I know the band has used emojis as the names of songs before, but although it is unique and fun, it could be clearer at the same time to decipher the name. The track featuring BTS shows their dynamic ability and blends into the K-pop scene. Of course, there are also moments of what we know the band to be on tracks like ‘Humankind’ with an element of Van Halen’s ‘Jump’ or Huey Lewis and the News ‘Power of Love’. ‘People of the Pride’ sees the band again flirt with Experimentation as they try to sound like Muse. However, this time, Coldplay appear to be out of place.

What annoyed me about the record is that there are many instrumental tracks that I have classed many times on previous reviews as simply throwaway tracks that shouldn’t feature on albums. The record does drag somewhat, and it is a welcomed relief when the ballads arrive. My favourite, of course, was ‘Human Heart’ or rather just a heart emoji featuring the highly talented multi-instrumentalist/producer Jacob Collier, who always uses his falsetto range. Now, I usually detest that piece of shit known as auto-tune, but it is used correctly to give Chris a Bon Iver effect on his vocals this time. Yes, Bon Iver’s Justin Vernon is the only artist I can think of who uses auto-tune to better his vocals. I can’t believe I am saying this, but ‘Human Heart’ is one of my favourites off the record because it sounds like a Bon Iver track.

The obscurely named ‘Biutyful’ (From what I got from listening, it is pronounced “Beautiful”) sees the band try their hand at K-pop without the help of BTS. It works and has a beautiful melody. One wonders what the song’s original concept would be and why they decided to take a leap of faith in K-pop. The theme of the record is centred around the Universe. Indeed, the subtitle is “Volume 1. From Earth with Love”, which fits in with the humanitarian ways of Chris Martin. Chris is all about saving the planet. The album closes with ‘Coloratura’, which is far removed from most of the sound on the record. 

This 10-minute and 17-second track is your typical Coldplay anthem that rings out in the large stadia they perform in. The song includes strings during the instrumental breaks and synths that sometimes stand alone. The record itself is…well, a bit mental. There is no structure evident (If there is, fuck knows where.), and it reminds me of an album called “the River” released by Pink Floyd during the last decade. That record also needed an actual structure in place. 

However, I did enjoy “Music of the Spheres”, but it appears the band has rushed this rather than taken their time to make the album more structured. You go from an instrumental into a track, then a ballad, then a track that can’t make up its mind, whether instrumental or vocal. This is where Coldplay have fallen, in my opinion, on this album.

Song recommendations: ‘Human Heart’, ‘Biutyful’, ‘Humankind’ 

7/10

Week 18: Tom Jones- Surrounded by Time

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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, instead of 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’

8/10

Week 17: London Grammar- Californian Soil

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

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

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

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

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

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

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

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

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

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

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

7/10

Week 10: Architects- For Those that Wish to Exist

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I have to concede that when I heard Architects were number one, I was expecting the Garage collective who released the iconic Garage club classic “Body Groove” back in 2000 featuring vocals by Nana (Nay-Nay is how it is pronounced, by the way.) However, I ended up listening to a band that sounds very much like their fellow English counterparts, Bring Me the Horizon, and vocalist Sam Carter sounds precisely like Oli Sykes. Well, this is the Brighton outfit’s ninth album and the second since their founder and leader, Tom Searle, tragically passed away in 2016. 

I’m not going to say from what because I hate the disease in question. Tom Middleton was his replacement, and they pushed on to release “Holy Hell” in 2018. It got a warm reception, considering the absence of Tom Searle. Some say they shouldn’t have continued, but they did, and on this record, it is shown why that was the correct decision. The album is full of rage, anger, passion, and emotion. The record contains many issues, including politics, lasting under an hour. The tracks range from “An Ordinary Extinction” on climate change to “Discourse is Dead” on politics, songs that address the band’s departure from the pre-Holy Hell days and their new standing in the music sphere by playing out at arenas.

There is also room to show their new standing with collaborations from Mike Kerr of another Brighton act, Royal Blood, and Simon Neil of Biffy Clyro. Just like Oli Sykes, Sam Carter has remained steadfast with his vocals, except this time, Sam is doing it on tracks ready to ring out across the arena air and become anthems, which I am sure they will be.

The band is not afraid to do a bit of noodling on the record, and that can be found on “Dead Butterflies” for a better example of them being experimental. I enjoyed “Dying is Absolutely Safe” above all of them because it has two sides to a coin. The song talks about how our world is such a chaotic state, but when strings come in, there is a sense of a brighter day to come out of the ashes of the chaos.

 It’s also quite apt for the band at present because they have been in turmoil since losing their original leader, but from that adversity, the band has stayed together and got stronger as the journey continues. Tom Searle will be admiring that character from wherever he may be. However, from a purist’s point of view, this album is a disappointment because the band has lost their edge and sounds too generic now. That’s the impression I got when conversing with a fan of theirs. I recommend it if you have not heard of them or Bring Me the Horizon. You’ll discover new music and a band you may well like.

Song recommendations: “Dying is Absolutely Safe”, “Discourse is Dead”, “Dead Butterflies”

7/10

Week 9: Mogwai- As the Love Continues

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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, with three 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 the experimental 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”

7/10

Week Twenty-Eight: Paul Weller- On Sunset

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It is absolutely amazing that the older the Modfather gets, the better his music gets. Before 2005, he had a mini-slump as we entered the 21st century, but not as bad as being almost the forgotten man for a bit in the 1990s. He did jack it all in after 1989 when going through turbulent times since the Style Council split. In 1991, he went back out on the road playing small venues, to begin with, as a solo artist, but it sounded more like a band called the Paul Weller Movement. He then released his self-titled debut album in 1992 and once again was being talked about for the great songwriter that he is. Still, it was his second album “Wild Wood” that really got him back in the limelight, not to mention the praises of a young, fresh-faced songwriter called Noel Gallagher (Who is still his neighbour at present in Little Venice despite Noel trying to sell his London home.) who happened to be in a band called Oasis who were leading the movement back in 1994, which got Paul new fans and at present, the momentum from that year is still carrying Weller through. Yes, he had three disappointing albums to begin the 21st century by his standards, but since “As is Now”, Paul has had the fire in his belly to prove he’s still one of the greatest songwriters in the world.

He has also had a philosophy of not looking back since 2005 and has dared to experiment on every album thereafter. “On Sunset” is no exception. Instead of sticking to the sound he once mastered, he has added vim and zest with his experimental endeavours. They usually say, “If ain’t broke, don’t fix it.” However, in music, you need to change with the times and push yourself to try new ideas rather than stagnate. This is why most songwriters disappear from the radar because they are too comfortable. Weller is willing to try new and exciting things to let everyone know he is still working and stamp his authority all over the industry.

Weller has changed up the tempo for this record; as we all remember, “True Meanings,” his last album from two years ago, was very reflective and simplistic. However, “On Sunset” is a departure from its predecessor and challenged him, but from what I heard, it’ll bear fruit for the Modfather in the long run.

The record begins with “Mirror Ball”, which I would describe as a three-in-one track because of the number of genres included. It goes from psychedelic, experimental, sub-bass and then, as the seven minutes approach, back to how it began. I could see the likes of the Chemical Brothers, Toydrum or Amorphous Androgynous remixing this, but Weller is more than confident of having a go himself as he gets bolder these days.

Most of the album, which was recorded at Black Barn Studios in Surrey, has a very summer feel to it when it was probably recorded during the cold winter of this year and last year. The whole element of funk and bass adds to that summer effect. However, towards the end of the record, we have tracks like “Equanimity” that sound more like he did back in 2000 compared to what he has been doing for the last fifteen years of being very experimental in the studio.

The title track is sound, but I don’t know if the final mix was supposed to have the effect of the Modfather’s vocals being overpowered by the strings to accompany them. It seems odd that Weller’s vocals are very feint.”Bapiste” reminds me of his track “Wild Wood” from the early 1990s when he dared to go solo, and it feels like a song dedicated to his passion.

The production is a bit much, but the lyrical content more than makes up for it. I’ve heard some bullshit in recent years that the Modfather is no longer a force with his songwriting, but after nearly 50 years in the industry, I disagree. He has always retained his ability to write songs; even those first three albums of the 21st century still had gems on them, although fewer. I loved “Rockets” as Weller once again gets political and takes a swipe at the sorry state of current affairs. He was also clearly inspired by the late David Bowie, as it sounded a bit like Bowie’s Ziggy Stardust era.

“More” indicates what Weller plans to do from here on in. “There’s always something else in store, keeps me running down that road.” if that isn’t a clear indication, then I don’t know what is. Weller is not planning to retire any time soon and is still hungry for more accolades among the many others he has received over the decades. 

Once again, the Modfather has stamped his authority all over the industry and is not paying attention to those who think he should be in the garden of his Little Venice mansion, having a cigarette with a pint and reflecting on all the milestones he has reached. I look forward to another experimental album to follow this.

9/10

Song recommendations: “Rockets”, “Mirror Ball”, “More”

Week Twenty-Three: Lady Gaga- Chromatica

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Lady_Gaga_-_Chromatica_(Official_Album_Cover)

Now, I haven’t been that keen on Lady Gaga ever since “Poker Face”, “Bad Romance”, “Born This Way”, and “Alejandro”, which are considered the best of her songs. Oh, and that one featured in that “A Star is Born” film. I changed my mind about the 21st-century Madonna after hearing her duet with the great Tony Bennett. After hearing that, it showed me that she was more than just a generic yet eccentric pop star. She did shine for me on those recordings and gained some of my respect. 

Indeed, she is versatile in her fashion and music and has probably outperformed her predecessor, Madonna, in the art of shock. Remember that Gaga has been inside an egg down the red carpet and worn a dress made entirely of beef. She has done jazz, as I mentioned, with the great Tony Bennett, which, for me, was the turning point in bringing her music to those who can’t stand generic pop and appealing to a much more mature audience. She made a country-themed album which is entirely about her auntie, who died before she was born, and then she branched out into film, where she did the soundtrack and was the lead role in 2018’s “A Star is Born”. Some may compare her to being similar to the late David Bowie, but although I agree, I still stand by my stance of her being a Madonna for the new millennium.

Some critics have said that “Chromatica” is her return to form and is more in line with her pop music, but I will have to disagree with them as I found the record was laced with 1990s house. While making notes for her sixth album, this is what I discovered:

Three short songs make up “Chromatica”, just stringed instrumentals resembling something you hear at the Albert Hall in London during the Proms, so basically classical, but certainly ideal for the big screen and the big classical music halls. Some have described ” Alice ” as disco, but I wholly disagree. This ode to Alice in Wonderland is very much house from the 1990s. One critic described it as her take on garage, which left me entirely surprised.

“Stupid Love” is your typical Lady Gaga song and sounds like “Born This Way.” “Rain on Me”, which features former teenage actress Ariana Grande, sounds like the sort of track that Mylo or Diplo would produce. “Free Woman” sent me right back to those 1990 raves (Although for me, it was more raving at School discos, parties and youth clubs.) with its substantial house bound production. “Plastic Doll” seems to be a warning to any male who wants to mess her about and treat her like shit, “Sour Candy” features Blackpink, which is aptly named and yet another track inspired by house.

“Enigma” is house with its classic piano riff and very soulful vocals and is perfect for when the clubs eventually open their doors again, “Replay” uses a sample from a Calvin Harris hit of which I can’t remember the name (It goes, “ooh, ooh ooh, ooh ooh, ooh, ooh” if that helps?) “1000 Doves” is yet another track that takes inspiration from the 1990s club scene with a piano wrapped around dance beats and electronic drums. You may wonder why I haven’t included the song with Elton John. The reason for that is that, disappointingly, Elton opts for autotune rather than using his natural vocal ability. The final song I will touch on, which closes the album, is the Madonna-esque “Babylon”, which, to me, is the 21st-century version of “Vogue”, with Lady Gaga even using spoken word like Madonna did on her 1990s hit. It even has that classic piano riff from “Vogue.” the only thing that doesn’t feature is the strings, but unlike Madonna’s song, Gaga’s has a beautiful saxophone solo.

Recommendations: “Alice”, “Free Woman”, “Sour Candy”, “Enigma”, “1000 Doves”, “Babylon”.

9/10

Week Twenty-Two: the 1975- Notes on a Conditional Form

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The 1975 sleeve

I remember hearing about this band in 2013 and giving them a chance, but I didn’t think they lived up to the hyperbole they were getting. I couldn’t stand their song on FIFA 14 either and removed it from my playlist. And would they have got on if it wasn’t for their leader Matt Healy being born with the mother-of-pearl spoon in his mouth? It certainly helps when your parents are well-known British actors. It also helps they came along when the rock side of music was not really doing a lot.

The opening track, named after the band, features a piano with a speech given by Greta Thunberg at one of her many climate change rallies. I might not believe in everything she says, but I admire her passion. Climate change is just a case of nature taking its course, but it certainly doesn’t help when you’ve got fucking idiots drilling huge holes in the ice for research. If I were the scientists, I’d suggest they leave the drilling well alone. Of course, that will agitate the ice and cause it to break up.

The next track I will mention is “People” It has shite elementary lyrics, but the drum beat reminded me very much of Blur’s “Song 2” and a very unusual assault for the band into the punk genre. I never had them down as a punk band or even attempting to do punk. “the End” is just one of those fucking pointless throwaways that are known as interludes. This one is just a short-stringed instrumental. That then leads us into “Frail State of Mind”, which, in my opinion, is a failed attempt to appeal to the fans of the garage genre. It didn’t work, lads. It’s not your forte.

“Streaming” is just another stringed instrumental interlude. “Yeah I Know” is yet another failed attempt at appealing to the club scene with its garage element. Seriously, lads, leave well alone.

“Then Because She Goes” is trying to emulate the indie scene of the 1990s, with this track sounding like the Wannadies smash hit “You and Me Song”. “Shiny Collarbone” is trying once again to break into the club scene with this house instrumental with a ragga sample chucked in. “If You’re too Shy (Let Me Know)” is very 1980s.

The final two tracks I am going to mention are “Playing on My Mind”, which sees the band take time out to reflect and bring the tone down of the music by going acoustic and “Having No Head”, which is dance music that is ideal for a child’s disco.

I was thoroughly bored listening to this double-disc record; most of the time, the album didn’t hold my attention, and I wondered what my review would look like and if it would be even long enough. I cannot stand the band; I don’t understand the hyperbole surrounding them, and this album hasn’t changed my view.

Many of the fucking idiots who follow them will be like, “You’re just trying to be ‘edgy’ and ‘cool’ by saying you don’t like them”, but it IS actually true. I cannot stand them. My dislike of their music is genuine. Others might be like little sheep and follow, but I have my own mind, which tells me I do not like their music.

4/10

Week Fifteen: Dua Lipa- Future Nostalgia

~ honestopinions19 ~ Leave a comment

Dua Lipa

Here is a track-by-track review of Dua Lipa’s second album:

Future Nostalgia:

This is the title track that blends rap with pop. This track was only thought of after the record was already named.

Don’t Start Now:

This track has been dubbed the best of her works since “Be the One” off her self-titled debut album in 2017. This disco-pop song shows she will not rest on her laurels and is looking to aim higher. It also just keeps getting better after every listen.

Cool:

Dua is trying her hand at the 80s, and this track is aptly named. It reminded me of what the Weeknd has done with his latest album. The 80s disco is well in at the moment.

Physical:

I should probably look at the singles released off this record, but I have heard that this track is a massive hit among her fans, and they find that this pop song stands out on “Future Nostalgia”. It has got plenty of attitude, suggestive lyrics and synths with a drum beat that will send shock waves through your body.

Levitating:

It’s another disco track that feels like it belongs on the album. It’s much slower than “Physical” and much more laid back. The song is surrounded by synths, a typical dance beat and some very teasing vocals. There’s even some swearing in this track um hahahahaha. Snowflakes will recoil in horror. Awww.

Pretty Please:

From going full throttle with her vocals on most of the record, Dua eases off on this track, but that doesn’t take away from the fact it is a great song.

Hallucinate:

Some may disagree, but this track fits the house genre. When the drop happens, you have the typical house pulse and the iconic bassline. And why wouldn’t it be? It is produced by SG Lewis, who is known for his work, not only as a singer but for his productions in house, deep house, drum n bass and techno and being a DJ within those genres. It’s certainly a surprise at this point because there has yet to be a song so far that fits into club-based. I see this being a potential single and being played out in the clubs (when they finally reopen.). It would fit in very nicely into a Carl Cox, Mad Fingers, Anne Savage, Lottie or Fatboy Slim set. The lyrics even talk about meeting someone on the dance floor. You can’t get more apt for the club environment than that.

Love Again:

We now come to the longest song on the album, and there’s a very recognisable sample. It was also No.1 in November 1996 and was played to death. Wiley has also sampled it. It is White Town’s “Your Woman”. Although the sample is the strings of the chorus, it cuts into a dance track. It works, though and deems this song a success.

Break My Heart:

Her latest single, which again follows the disco path, includes an Australian band INXS sample. It is quintessentially pop, rising and falling, complete with a bridge and chorus. There’s a very poignant lyric in there regarding the current situation the world is in. Now, it’s without question she wrote the lyrics ages before the lockdown, but the verse is “I should have stayed at home”.

 

Good in Bed:

Haha, what a name for a song and if you can’t work out the suggestive lyrics, then there really is no hope for you. It is as clear as day. This is an early Kate Nash song with Dua’s own style added. It is also the only track with a comedic element on the record.

Boys will be Boys:

It’s pretty odd that as we approach the album’s end, the tracks have changed direction and become more risqué. While surrounded by strings, Dua talks about the opposite sex but still manages to keep it in line with the record’s narrative. It’s more of a dig about the inequality that still exists. It’s typical for Dua if I am honest with you, she is never too shy to give her opinions on anything, especially this subject.

Overall review:

I may be wired differently from everybody who listens to her songs, but although the album is very good, my standouts are not among the favourites with her fans. I preferred “Hallucinate” because it is house music and very suitable to include in a set at a club, and “Love Again” for its White Town sample, but then kicks into a dance track. What I like about the album is that this is a very different pop angle and gives a nod to the 80s. Not to mention, you have a house track, so Dua is bringing the dance scene back into the mainstream because, let’s face it, it has been gone for a very long time; it’s mainly sing-a-long, happy clappy shite. With this and the Weeknd’s latest record, we now see the pop charts changing yet again, bringing back the dance and club element. Will this album stand the test of time? Well, that all depends on her fans. I will not get all nostalgic and listen to this record in twenty years. I was really shocked when she wasn’t No.1 in the first week because this, by far, a much better

album than “C A L M”. 7/10