It is absolute nonsense that this will be the last album by the Weeknd. He has hinted that he might “kill” his alter ego and start again as Abel Tesfaye. He has also hinted that he might retire from music altogether, and I simply ain’t buying it despite what it says on the opening track ‘Wake Me Up’ on the intro. The album is the trilogy’s final part that includes “After Hours” and “Dawn FM”, both of which I have previously reviewed. Once again, the record is full of synthesisers and nods to that 80s retro sound, a style that has been a defining feature of his music of late. The only plausible reason this might be the final album is that he lost his voice onstage during a concert in 2022. He believes that it was some sign to tell him to stop while he was at his peak.
Abel went into acting in 2023 when he starred in The Idol, which could be another reason he wants to leave music behind. However, after hearing about the drama, it appears he should stick to music. Of course, on his previous album, “Dawn FM,” which was about a radio station in the afterlife, he talked about the end of his alter ego, but this time, he does appear to be hinting at leaving music.
His latest instalment, “Hurry up Tomorrow”, kind of acts as a film as it lasts 88 minutes. He has the legendary Giorgio Moroder on ‘Big Sleep’, which features the score from Scarface, and there is a nod to the film Eraserhead. I heard Abel also wrote a film to accompany the record. It is not your usual short film for an artist, but a full-length film starring him. There are several covers for the sleeve, and the used for streaming platforms looks like a film poster. Again, with these two things alone, Abel is hinting that his heart now belongs on screen.
Unlike his previous albums, where his alter ego’s malevolent nature was a dominant theme, this album presents a more nuanced perspective. The evil side of his alter ego is a rare occurrence, adding an element of intrigue and curiosity for the audience.
While the production is mostly enjoyable, the lyrics and subject matter fall short. If this is the artist’s final work, it’s a departure that lacks his usual style. The constant lamenting about wealth and fame becomes tiresome. Is it a great shame that this is how he has chosen to exit the music scene? The title track that concludes the record holds a surprise-a hidden track featuring a section of his legendary ‘The Hills’. This hidden gem serves as a reminder of the artist’s legacy, but it’s a bittersweet note to end on.
Song recommendations: ‘Big Sleep’, ‘Wake me up’, ‘Hurry up Tomorrow”
Much criticism was given over her last “Brightest Blue” in 2020, with quite a few critics saying the album lacked excitement. I cannot remember what I said, but in all fairness, it was recorded during the lockdown, so if the record was more downtempo, then it is easy to understand why. This time Ellie has decided to bring more uplifting dance-like music. The album is full of synthesisers and thumping basslines. The record doesn’t give you time to settle because it is more like going to a club, and the DJ playing song after song that makes you not want to leave the dance floor. ‘Love Goes on’ is the only mid-tempo track, but even that still has some energy.
The album begins with ‘Midnight Dreams’ to start the disco-themed adventure and is followed by ‘Cure for Love’, a song about breaking up in a relationship with an infectious chorus. The title track shows off the best of Ellie’s vocals so far in her career. She then goes into that 80s disco, which has been used by the Weeknd of late on ‘Like a Savior’ and ‘Let it Die’. You will see what I mean by hearing them and the dirty deep bass on both.
What is a shame, but probably understandable on the record, given its disco and uplifting instrumentals, is that Ellie focuses less on her brilliant songwriting. Her vocals also need more energy on ‘By the End of the Night’. The record also ends with the trap beat inspired ‘How Long’, which seems totally out of place with the rest of the instrumentation that comes before it. I wonder why that happened. Ellie may be teasing her next album sound.
Regardless of the lack of songwriting and the peculiar addition of ending with trap, the album mostly doesn’t lack energy and is uplifting and fun to listen to. You feel alive and get this sense of being on that dance floor in the club. Also, what a way to shut your critics up who lambasted her last album.
Song recommendations: ‘Midnight Dreams’, ‘Like a Savior’, ‘Higher than Heaven’
Regardless of what I am about to say in this review, I have always found Muse hard to listen to their studio work. However, they are beyond amazing live. I thoroughly enjoy their spectacular headline shows at festivals. I saw one particular performance from the current “Will of the People” tour, complete with lasers, great visuals, hypnotic guitars, Matt’s futuristic jacket and a robotic hand where he somehow manages to know the correct swiggles to draw on the touchpad of the glove to form the melody.
However, despite their failure to create their live shows in the studio, what cannot be ignored is their lyrics and subjects—the subjects ranging from anti-establishment, pro-freedom, and sex. Not many people talk about the drummer Dominic Howard, but he more than compliments Chris Wolstenholme’s bass wizardry and Matt Bellamy’s versatile vocals that also sometimes ape the guitar. The Devonshire trio have been going since 1994 and released their debut “Showbiz” in 1999. However, it wasn’t until 2001 and their second record, “Origin of Symmetry”, that the band started to get noticed, with ‘Plug in Baby’ charting just outside the top 10. Their biggest success chart-wise is ‘Supermassive Black Hole’, where Chris does the whispered chorus. They are yet to get a number one, but that isn’t a surprise when you consider they are more of a live band.
Amazingly, “Will of the People” is their ninth studio album and their most politically charged to date. This could well be told from Matt’s perspective, but it is a worldview. We are sick of the society we currently reside in and grow angrier with the establishment.
The opening track is the title track, which acts as a call to arms to start a revolution against the establishment. I first heard this as an introduction song on their current tour. They may now perform it rather than the studio version playing before they go onstage. The song features a baying crowd over AC/DC-esque guitars with Matt with venom in his vocals that he will lead the revolution and overthrow the establishment, which is quite apt during the current climate. It certainly got my attention from the off, at least.
The leading single is ‘Compliance’, which I had heard during this particular concert I watched on YouTube, and I have to say, I loved the concept behind it and the thought-provoking lyrics. However, this time, Matt does it from the oppressor’s perspective. It is also a condescending dig at the establishment.
One thing I loved about the album is this revolutionist vs oppressor topic over futuristic melodies, with Matt muting the chords with his palm; synths and elements are taken from the Weeknd. There is even room for them, once again, to pay tribute to Queen with ‘Liberation’. What do I mean? It just sounds like Queen from the instrumentation to Matt’s vocals. This is Another song told from the perspective of the people determined to revolt.
However, there is a turn of events on ‘Ghosts(How Can I Move on)’, which, at first listen, I thought had Chris Martin (Coldplay) on vocals. The song screams all things Coldplay. The disappointments come on ‘Kill or be Killed’ and ‘Won’t Stand Down’. Although the songs have great titles, they sound more like a messy breakup rather than fighting for one’s freedom from the establishment.
Muse, like several others, are pretty adept at recycling their songs. Although they have been written and recorded over the past year, they still sound familiar, as seen in ‘Won’t Stand Down’, which sounds similar to ‘Supermassive Black Hole’. ‘Verona’ reminded me more of U2, particularly Edge’s riffs. Going back to Muse recycling, ‘Euphoria’ sounds like ‘Time is Running out’ vs Donna Summer’s ‘I Feel Love’.
My standout is the closer ‘We are Fucking Fucked’. The lyrics are delicious and aptly mimic the tone of what we all feel. We are fucking fucked, and the lyrics expressed that with mentions of world war, et cetera. It also sounds a bit like ‘Knights of Cydonia’, albeit there is no call-to-arms, but rather a pessimistic view of not being capable of sorting out this shitstorm we are all in. What a way and a statement to end the album.
However, I found the record quite disjointed and a mishmash of Muse’s past work slightly reimagined. The messages are also contradictory because Matt is asking for a revolution, yet then is rather pessimistic, moaning and unwilling to do anything. Again, Muse has made an album that is only for the live arena. As I said, their studio work does not ape the effort put in when they perform live.
Song recommendations: ‘We Are Fucking Fucked’, ‘Will of the People’, ‘Compliance’
Bizarrely, the first time I heard of this band from Bedford was way back in 2008 on some weekly Xbox Live magazine show. I didn’t know who they were, but when they played a snippet of their latest track, I knew they would challenge the likes of Enter Shikari, who are close in terms of geographical distance. They reminded me of several bands of that ilk. Especially Bring Me the Horizon. You can add Royal Blood to that list now.
“Amazing Things” was released late last year but, for some reason, didn’t hit the top spot until this year. A song featured on a recent television programme might have got the viewer’s attention. The album explodes into ‘Gumshield’, undoubtedly aptly named as the song is reminiscent of being in the ring. The production is brilliant with its use of synths, orchestras, full-on metal guitars, and, as I mentioned, the razor blade vocals provided by Rob Damiani and Matt Donnelly. The assault on your ears is ferocious, including the vocals. After that intro, you are fully expecting an all-out sound.
Surprisingly, I enjoyed the second track, ‘Manchester Super Reds No.1 Fan, ‘ despite not being a fan of Manchester United (It’s pretty obvious the song is about them). I enjoyed it for its in-your-face rock attitude. I liked “Amazing Things” more for its instrumentation than the lyrics. They are not up to much, albeit they are witty, funny and sarcastic, backed up by vocals with attitude. The instrumentation is what makes it, though. It follows the same premise as their previous album, 2018’s “Technology”. You might say the band embraces their posh background on their latest record. Unsurprisingly, the latest five singles released from the album are on the record’s first half. I will go into that more in the next paragraph or so.
I loved “Amazing Things” for its grandeur with the instrumentation and full-on metal rock, and the vocals of Mattand Rob complement each other well. Both have different styles, and it keeps the listener interested. However, going back to the previous paragraph about the singles coming from the album’s first half, it is no surprise because that is where the energy is. You lose interest after ‘Anaheim’ because the songs lose that intensity. It ends with a bang with ‘Easter Sunday’, which is worth listening to until completion. Concerning “Technology”, “Amazing Things” is the better record with excellent instrumentation, subject matter, and better structure.
Of course, if you are a fan of Don Broco, you will be happy with the end result. You will also feel the same if you like their genre. However, there is also other stuff for listeners to enjoy, like synthesisers fitting with the synth-era trend that is currently in full swing. Everyone appears to like the 80s sound at present. It differs from the Weeknd or Coldplay’s use of synthesisers, but it works nonetheless with their creativity. I cannot remember what track it was at the moment, but one of them uses synthesisers that reminded me of futuristic films like Tron. As I mentioned, the first six tracks blow your eardrums to pieces and have the intensity to match. The second half is like the middle section of a live performance, where things are slowed to let the audience catch their breath and take in some fluids. However, the final track is fit for an encore to leave the audience experiencing a rush. I only know a little about the band, but I have been impressed again. The follow up will have to be highly astronomical to beat this.
Song recommendations: ‘Gumshield’, ‘Manchester Super Reds No.1 Fan’, ‘Easter Sunday’
I cannot believe I hadn’t written a review since late November when Adele released “30” and then proceeded to hold on to the top spot for the majority of December before being overtaken by Ed Sheeran in the first week of the new year. However, it was widely known that the Weeknd’s “Dawn FM” would take the top spot. It is quite a quirky little record with its premise of you listening to the radio, complete with jingles and advertisements featuring the likes of Jim Carrey and Quincy Jones, to name a few. It made the interludes more intriguing, although I did skip them because you all know my opinions on interludes. Abel has gone for that 80s feel again, as he did on the previous album that spawned the 2020 ‘Blinding Lights’ track and featured on the Mercedes advertisement. It sounds futuristic and retro, with music by Daft Punk and Nile Rodgers. The aforementioned do not feature on the record save for some samples. The production this time includes Calvin Harris and Swedish House Mafia, among others.
Another thing you will notice about the album is you are listening from inside your vehicle in a traffic jam, but you aredead. It is quite a dark concept. Why, you ask? The theory follows from the previous records where the narratorhas finally met his end. Is that true? It could be because the lyrical content seems to suggest it. As we know, Abel talks about drug use and the perils of it and sex in a non-romantic way.
Abel can sometimes be compared to the Cure for his use of gothic elements but still staying sonically within the chart-friendly confines.
So, you have him discussing gothic things, but the music fits nicely with the singles charts and takes the edge off, like the Cure executed perfectly in their prime. Since then, the band has gotten darker, but they balance out their shows with those pop classics we grew up with (Well, it depends on who is reading this and how young you are.). Abel, thus far, has kept it under a tight lid, but he unleashes the gothic narrative from Pandora’s box on this record.
This album would make an excellent soundtrack for a remake of Buck Rogers or the gang warfare classic the Warriors. My favourite track was ‘Take My Breath’; I heard the sample of Daft Punk’s ‘Da Funk’ and Nile Rodgers-esque guitar playing. I particularly enjoyed the “Alternate World” section with a remix of ‘Take My Breath’ featuring Agents of Time. It felt like a moment of being in a club, enjoying life and reaching up as the song reaches the drop. I cannot wait for the club-inspired remix to be played out across nightclubs worldwide. So, with “Dawn FM”, we have an album where you listen to the radio while stuck in a traffic jam en route to the other side with lost souls DJing or on advertisements, not fully accepting that they are no longer alive. It is quite a departure from Abel’s usual subjects. He appears to have matured and is willing to refrain from talking about drugs and sex. Although the music may be uplifting 80s, the topics are far darker.
Song recommendations: ‘Take My Breath’, ‘Take My Breath(Remix)’, ‘Out of Time’
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 albumby the band, going by Chris’ comments. Even though ‘Higher Power’ was released, many still expected that to be the sole materialreleased until next year.
The collaborators of the previous record were not acquired for “Music of the Spheres”. Coldplay got Max Martin on board toproduce the album and gave him complete control. Max brought in the likes of Selena Gomez and theextremely 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’
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
I first heard of Abel Tesfaye in 2013 after listening to a live concert on YouTube, and I remember him for his unique look with his mad hair and crazy spelling of his alias. I was impressed with the songs “Wicked Games”, “Love in the Sky”, and “Pretty” off his debut album and a mixtape that featured his fellow Canadian Drake. Some have said that the debut “Kiss Land” was highly disappointing and didn’t live up to his work featured on the mixtapes from 2011 and 2012, but every album since “Kiss Land” has gone to the summit in his homeland.
Due to the critics panning his debut record, he changed it up for his sophomore record “Beauty Behind the Madness”, which came out in 2015. The best song off that record was the commercially friendly disco funk “Can’t Feel My Face”, which was a very clever way of concealing the song was about meaningless sex and drug use (Listen carefully, and if you’re of a certain age, it doesn’t take a genius to work it out.) There were also songs like “the Hills” and “in the Night” that stood out. For the third album, “Starboy”, the following year, he got Daft Punk on board, which were easily the best two songs on a rather overcooked record.
On his latest record, “After Hours”, Abel is trying to make music that appeals more to the fans of the 1980s with the sound and traditional melancholic lyrics.”Blinding Lights”, which is the lead single off the album has been number one for the last five weeks in the UK and sounds like nothing he has ever done before. It’s definitely a track that will appeal to the fan of 80s music. Then, the other track that sounds different from the norm is “Hardest to Love”, which sounds like a commercial version of drum n bass, and I could certainly hear it being included in a vocal section of a mix by Nicky Blackmarket and the like. I’ve heard that “Too Late” sounds like a UK garage vocal song, but I honestly disagree; I didn’t hear anything remotely like any form of garage on it, and the last song that sounds original, “Save Your Tears”, is very experimental. If I didn’t know I was listening to the record, I would have mistaken it for a new track by MGMT.
What about his lyrical content and song subjects? Have they changed much? Well, not really. He does venture out, but it’s for a short time. Although on tracks like “Faith” and “Save Your Tears” (The latter, I have mentioned regarding the originality of the sound.), he is reflecting on what happened in past relationships and apologising, but he can’t do it without being self-indulgent. His reflection and apology appear like it is to him rather than the ex-girlfriends. The record is entirely egotistical, too, as he brags about fucking women in the studio and then proceeds to mock the plastic surgery they have had done on their faces. He might pause and say, “I don’t criticise” when he talks about that on “Escape from LA”, but it’s more about him once again congratulating himself for his mistake of mocking those women for their physical appearance rather than being sincere.
You may be thinking, after reading my review, “Is it worth even listening to?” the answer is yes. This record is very much what got his name out there originally. It has a consistent story, the songs all fall in together, and although the record may have 14 tracks of pretty much the same with its production, it does change for three songs, so that’s something to look forward to with his next album because I can’t see him playing safe all the time. The deluxe album has 20 tracks, but the additional 6 are just remixes. My other laptop is closed, so I can’t be bothered to go and check on the remixes (I think it is the singles so far.). “After Hours” differs from the rest of his records and offers a preview into the next phase of his career. 7/10
Since Lana burst onto the scene back in 2012 with her second album, “Born to Die”(As this is the album that made her.), with her baroque pop that was somehow mainstream friendly, she has managed to be on both sides of the establishment vs anti-establishment wall. Blending both pop and indie with such little effort and controversy. She is also something of an enigma, yet very accessible as well.
Lana Del Rey released her self-titled debut album with her alias included on the cover (Lizzy Grant.), which is her real name, Elizabeth Woolridge Grant, which a wealthy family raised in the city of New York (Lake Placid to be exact). Anyway, enough of the history lesson and back to the review. Lana didn’t make an impact in the UK until “Video Games” after She uploaded videos on Youtube of that song and “Blue Jeans”, which would feature on her forthcoming album, “Born to Die”, the following year. Those videos also would be the template for how Lana would be sonically from there on in. The sound would hark back to the early 1990s trip-hop, laced with her soulful vocals.
She hasn’t changed sonically nor lyrically with her fifth album, “Lust For Life”, yet this record is her best since her breakthrough, “Born to Die”. There are many featured artists on this 71-minute, 16-song tracklist. Some I have never heard of, and other artists like rapper A$AP Rocky, who I think are shit and are not fit enough to touch 2Pac’s mike stand, let alone his microphone. Another rapper, Playboi Carti, also features, and then we have the likes of Fleetwood Mac’s, Stevie Nicks and the son of John Lennon and Yoko Ono, Sean Ono Lennon (The lesser known of the Brothers.). And let’s remember the very talented rnb artist, The Weeknd.
So, with such a long guest list, does the record deliver? From the opening track, “Love”, I would say that it does. It starts off very moody before building into a majestic chorus with consummate ease, a hook that gets stuck into your head. This theme continues on the title track featuring The Weeknd. Expect provocative lyrics on the title track, but if you have seen some of her videos, you should know what to expect.
The standout track has to be “When the World Was at War We Kept Dancing”, which is a politically charged song about how to deal with and live your life in America under the presidential rule of Donald Trump, which has brought with it plenty of controversy with sexism, fascism and pro-NRA baggage. This has to be the best song Lana has written for its theme and the message conveyed within the lyrics. I like very conscious lyrics, so this song jumps out at me. The political theme continues with “God Bless America (And All the Beautiful Women in It)”, which attacks the Republican government on their views of women’s rights in the country. Again, I was very impressed with the conscious lyrics and had even more respect for Lana for daring to challenge the establishment. Such subjects can make record companies recoil in horror, but more power to Lana for going against the grain.
Some might moan about her collaboration with Sean Ono Lennon on “Tomorrow Never Came”, saying it sounds too much like the Beatles or Bob Dylan, but I like this. Unfortunately, just like his brother Julian, Sean sounds precisely like his father John, which certainly didn’t help Julian on his musical quest (Whether it’ll help Sean remains to be seen.). Therefore, many might be disappointed with this track, but I couldn’t care less if Sean sounds like his dad. If anything, it’s a reminder of what John would sound like in the modern era with modern technology, so think of it that way, and I’m sure you’ll enjoy it rather than throw criticism at it; plus, you have the Dylan-esque aura on the song.
The most disappointing track on the record has to be “Beautiful People, Beautiful Problems”, which is a shame as it has Stevie Nicks on it. Still, the track seems like Lana’s momentarily lapse in creativity or just a filler to make up the tracklisting. It’s such a shame that the track turned out that way, as Stevie’s contribution is monumental, as you can imagine.
The record has a strong ending with “Muted Heroin”, a piano ballad leading into the final track, “Get Free”, where there are some very poetically beautiful lyrics about crossing over from the ordinary world into your heart. This is a good album that could have reached monumental status with some tweaking here and there, but this is her best album since “Born to Die”, which keeps her legacy very much intact. Although I would still rank “Born to Die” above this and any other of her records, yes “, Lust for Life” (Inspired by Iggy Pop? I don’t know.) does deliver.
Honest Opinions 