Album Review: The Hill, The Light, The Ghost by Haiku Salut
The electronica Derbyshire based trio Haiku Salut are back with their fifth album The Hill, The Light, The Ghost. Their latest output is a study on memory and the ghosts that emerge long after. Much of the inspiration for the nine track album came from a Tascam field recorder, given to band member Sophie Barkerwood. The sounds captured became a touchstone for the group, enabling them to create an album that explores sonically the power of memory.
This entirely instrumental album deserves more than passive listening and instead should be approached with heavy meditation. The opening track Wide Awake offers agricultural ruminations , those Tascam noises radiating through. The band’s electronic roots fires up throughout We Need These Beams, where tapping and whirring is overlaid onto a more cinematic landscape. The effect is one of imminent importance: the necessity of importance.
I Dreamed I Was Awake For A Very Long Time introduces something more kinetic but this movement appears all the more human. The field activity is replaced by more knocking. Gone are the chirps and the scurrying, emerging from this industry. Melody and song kick in during this wonderful tune - and the heavy reverb that haunts How The Day Starts is truly gorgeous - appears to show that all that tinkering is worth it. It revives the old, and creates something new.
It’s a thought provoking album. The idea that ghosts can remain in sounds and that memory lives through melody is hardly new, but the chilling noises produced by the band elicit a conscious thought into the power of music. The Hill, The Light, The Ghost is electric, immersive and an altogether melodic reverie.
Written by: Liv Beards
Published: 8th September 2021
This entirely instrumental album deserves more than passive listening and instead should be approached with heavy meditation. The opening track Wide Awake offers agricultural ruminations , those Tascam noises radiating through. The band’s electronic roots fires up throughout We Need These Beams, where tapping and whirring is overlaid onto a more cinematic landscape. The effect is one of imminent importance: the necessity of importance.
I Dreamed I Was Awake For A Very Long Time introduces something more kinetic but this movement appears all the more human. The field activity is replaced by more knocking. Gone are the chirps and the scurrying, emerging from this industry. Melody and song kick in during this wonderful tune - and the heavy reverb that haunts How The Day Starts is truly gorgeous - appears to show that all that tinkering is worth it. It revives the old, and creates something new.
It’s a thought provoking album. The idea that ghosts can remain in sounds and that memory lives through melody is hardly new, but the chilling noises produced by the band elicit a conscious thought into the power of music. The Hill, The Light, The Ghost is electric, immersive and an altogether melodic reverie.
Written by: Liv Beards
Published: 8th September 2021
Performance Review: Paul Weller Live at the Barbican (Sunday 13th June 2021)
It’s an incredible treat to see the Modfather Paul Weller return after 2 years with his oeuvre set to a tone that has always prevailed throughout his music: passion. Conductor Jules Buckley has arranged Weller’s discography with precision, allowing for a history to brim with fresh perspectives. Despite his origins as a punk rocker slash mod in The Jam, and his soulful stint in The Style Council, and more recently a seasoned crooner, Weller’s career has always had passion, and the accompanying BBC Symphony Orchestra in the audience-less Barbican reveals the sometimes less obvious zeal in his music.
This isn’t the first time Weller has performed with an orchestra. In fact, his 14th album Time Meanings (2018) was played at The Royal Festival Hall with classical arrangements, but despite this, I felt some trepidation. There’s a few songs you start to hear play and think this is certainly not going to work. But that is the wondrous artistry of Buckley’s arrangements. Take The Style Council’s My Ever Changing Moods. The initial trumpet spurts do not inspire much hope, but hold your judgement: it’s bloody fantastic.
Despite looking somewhat bored himself, and admitting that revisiting his old songs has very little emotion or physical resonance to him now (granted, he says he can’t remember most of them) Weller’s voice is still as good; gravelly and furious when needed, honey like at just the right times. Much of this is due to the presence of the Ocean Colour Scene’s Steve Craddock, Weller’s long time collaborator, who pierces the elevated sound with the humbling acoustics of Weller’s origins. While something new is being explored, the nostalgia still rings through.
Watch out for some great performances by hand picked guests: James Morrison joins Weller to perform Broken Stones, Boy George belts out You’re the Best Thing, and, perhaps the best performance is Celeste’s heavenly take on Wild Wood.
Some (including me) may be disappointed at the lack of classics. I for one think The Man in the Corner Shop would’ve worked spot on, but there’s always an element of self promotion to these kinds of performances, because of course, you need to show off your new stuff as well as the oldies. Nevertheless, those picked were a joy to hear on a Sunday night - the perfect night for a bit of Weller. Grab a beer, catch up with this programme and dream of days in your parka.
Highlights of the show: My Ever Changing Moods, On Sunset, Carnation, Wild Wood
Written by: Liv Beards
Published: 13th July 2021
This isn’t the first time Weller has performed with an orchestra. In fact, his 14th album Time Meanings (2018) was played at The Royal Festival Hall with classical arrangements, but despite this, I felt some trepidation. There’s a few songs you start to hear play and think this is certainly not going to work. But that is the wondrous artistry of Buckley’s arrangements. Take The Style Council’s My Ever Changing Moods. The initial trumpet spurts do not inspire much hope, but hold your judgement: it’s bloody fantastic.
Despite looking somewhat bored himself, and admitting that revisiting his old songs has very little emotion or physical resonance to him now (granted, he says he can’t remember most of them) Weller’s voice is still as good; gravelly and furious when needed, honey like at just the right times. Much of this is due to the presence of the Ocean Colour Scene’s Steve Craddock, Weller’s long time collaborator, who pierces the elevated sound with the humbling acoustics of Weller’s origins. While something new is being explored, the nostalgia still rings through.
Watch out for some great performances by hand picked guests: James Morrison joins Weller to perform Broken Stones, Boy George belts out You’re the Best Thing, and, perhaps the best performance is Celeste’s heavenly take on Wild Wood.
Some (including me) may be disappointed at the lack of classics. I for one think The Man in the Corner Shop would’ve worked spot on, but there’s always an element of self promotion to these kinds of performances, because of course, you need to show off your new stuff as well as the oldies. Nevertheless, those picked were a joy to hear on a Sunday night - the perfect night for a bit of Weller. Grab a beer, catch up with this programme and dream of days in your parka.
Highlights of the show: My Ever Changing Moods, On Sunset, Carnation, Wild Wood
Written by: Liv Beards
Published: 13th July 2021
Album Review: En anglais by Mathieu Boogaerts
The latest album by French artist Mathieu Boogaerts, entitled ‘En anglais’ is, as the title suggests, his first English language record. Complete with his signature Chet Baker-esque vocals and self-effacing charm, Boogaerts 8th studio album fizzes with unique observations on those more intimate and silly parts of our life, accompanied by an international flavour of musical sounds.
Kicking off with ‘Annie’, Boogaerts waxes lyrical about a girl like no other, but with one catch - she has a husband. The first track not only sets the tone - a modest struggle played out through simplistic rhymes - but also introduces a slightly off kilter drum machine that works its way through the record, establishing a warped effect to the songs. Warped, only because the beat seems as though it couldn’t possibly work with a track like ‘You Like Me’ - a song better suited to an old jazz room - and yet it works effortlessly.
New sounds filter through too: ‘Am I Crazy’ has a quasi reggae, Hawaiian surf feel too it; ‘Your Smile’ is a light techno lament - and yet all the while, languid guitar strummings and slidings make sure never to let you forget the overall jazz vibe that makes Boogaerts so thrilling to listen to. Chet Baker vocals are present, but in this record, a breathlessness akin to Serge Gainsbourg leaves you wanting for the next track.
An absolute treat can be found in the last song, ‘I Won’t Follow You (Slow)’. I’m always impressed by artists who rework and modify their own work. While the original song, track 7 on the album, appears as though it couldn’t have much more done with it, Boogaerts seeks out the passionate and sadder undertones to the track, reworking it into a ballad.
I very much look forward to delving into more of Boogaerts work. Until the next album, I prescribe ‘En Anglais’ with healthy amounts of good food and wine for a get-together.
Written by: Liv Beards
Published: 31st March 2021
Kicking off with ‘Annie’, Boogaerts waxes lyrical about a girl like no other, but with one catch - she has a husband. The first track not only sets the tone - a modest struggle played out through simplistic rhymes - but also introduces a slightly off kilter drum machine that works its way through the record, establishing a warped effect to the songs. Warped, only because the beat seems as though it couldn’t possibly work with a track like ‘You Like Me’ - a song better suited to an old jazz room - and yet it works effortlessly.
New sounds filter through too: ‘Am I Crazy’ has a quasi reggae, Hawaiian surf feel too it; ‘Your Smile’ is a light techno lament - and yet all the while, languid guitar strummings and slidings make sure never to let you forget the overall jazz vibe that makes Boogaerts so thrilling to listen to. Chet Baker vocals are present, but in this record, a breathlessness akin to Serge Gainsbourg leaves you wanting for the next track.
An absolute treat can be found in the last song, ‘I Won’t Follow You (Slow)’. I’m always impressed by artists who rework and modify their own work. While the original song, track 7 on the album, appears as though it couldn’t have much more done with it, Boogaerts seeks out the passionate and sadder undertones to the track, reworking it into a ballad.
I very much look forward to delving into more of Boogaerts work. Until the next album, I prescribe ‘En Anglais’ with healthy amounts of good food and wine for a get-together.
Written by: Liv Beards
Published: 31st March 2021
Album Review: Neptune's Daughter by Kerri Watt
Neptune’s Daughter, the latest album by Glaswegian singer songwriter Kerri Watt, isn’t afraid to mix things up a bit. Delayed due to the pandemic, the album - that was recorded in 2018 - is a refreshing collection of different genres. Given the inception of the album, it’s no surprise that Watt has space to experiment. Produced by Texas based sound engineer Machine, who has worked with bands such as Clutch, Lamb of God and Fall Out Boy, the country-esque pop sounds of Watt couldn’t be further from these and yet, it was Machine who reached out. The results are fantastic. The album has fresh tones of blues, rock and pop, all the while feeling completely genuine to Watt’s work.
Every good album has an anthem, a bop, a feel good tune and a good ole ballad. Neptune’s Daughter has plenty of these, but these four tracks certainly stand out, and warrant many a re-listen. The bop comes in the form of ‘Kissing Fools’, a song that makes you instantly think of a good old country barn dance; the jangling keys, some reverb on the guitar - when Watt croons about ‘two margarita’s and a slow dance’, you’ll want to pour yourself a drink and dance yourself silly. We all want a bit of escapism right now, and what better way than to imagine a different life than to put on ‘Band of Gold’. With teenage vocals, and smooth acoustic guitar sounds, this song inspires you to get into your imaginary beat up Chevy and head out to the desert.
The accompanying music videos released alongside this album have been an aesthetic dream. Some are set in smoky pool halls in the back of beyond, others take on a 70’s inspired vibe, like ‘Chasing Aeroplanes’. The music video for this anthemic love yourself song, shows off her multi-instrumental skills. Watt dresses up as 4 members of a girl band to proudly sing ‘I can smile and say I’m happy!’. For this one, drop the gingham dress and ribbons in your hair and get on a pair of tight blue leather trousers. While all the songs I’ve picked showcase Watt’s songwriting skills but her vocal prowess too, it's ‘Hellfire’ that shows how she can slip into a different mood with ease. ‘Hellfire’ sounds like a ballad for the femme fatale, and whether its the scratchy reverb on the mic, or simply her performance, Watt knows how to make a sound that keeps building and building, a crescendo of excitement.
Watt’s willingness to try new things has paid off, resulting in an array of tunes that still hold true to her Americana roots but sizzle with a freedom and mastery. Listening to the album, you feel transported to different scenes, each electrifying and new. Neptune’s Daughter is a tonic - nay- a tequila shot for these strange times.
Written by: Liv Beards
Published: 10th March 2021
Every good album has an anthem, a bop, a feel good tune and a good ole ballad. Neptune’s Daughter has plenty of these, but these four tracks certainly stand out, and warrant many a re-listen. The bop comes in the form of ‘Kissing Fools’, a song that makes you instantly think of a good old country barn dance; the jangling keys, some reverb on the guitar - when Watt croons about ‘two margarita’s and a slow dance’, you’ll want to pour yourself a drink and dance yourself silly. We all want a bit of escapism right now, and what better way than to imagine a different life than to put on ‘Band of Gold’. With teenage vocals, and smooth acoustic guitar sounds, this song inspires you to get into your imaginary beat up Chevy and head out to the desert.
The accompanying music videos released alongside this album have been an aesthetic dream. Some are set in smoky pool halls in the back of beyond, others take on a 70’s inspired vibe, like ‘Chasing Aeroplanes’. The music video for this anthemic love yourself song, shows off her multi-instrumental skills. Watt dresses up as 4 members of a girl band to proudly sing ‘I can smile and say I’m happy!’. For this one, drop the gingham dress and ribbons in your hair and get on a pair of tight blue leather trousers. While all the songs I’ve picked showcase Watt’s songwriting skills but her vocal prowess too, it's ‘Hellfire’ that shows how she can slip into a different mood with ease. ‘Hellfire’ sounds like a ballad for the femme fatale, and whether its the scratchy reverb on the mic, or simply her performance, Watt knows how to make a sound that keeps building and building, a crescendo of excitement.
Watt’s willingness to try new things has paid off, resulting in an array of tunes that still hold true to her Americana roots but sizzle with a freedom and mastery. Listening to the album, you feel transported to different scenes, each electrifying and new. Neptune’s Daughter is a tonic - nay- a tequila shot for these strange times.
Written by: Liv Beards
Published: 10th March 2021
Single Reviews: 'If' and 'The River' by Ed Cosens
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Ed Cosen’s debut album Fortunes Favour has commanded much excitement with the release of two fantastic new singles, ‘If’ and ‘The River’. These two singles have been playing non-stop on my Spotify, and have even infiltrated my brain in a looping frenzy. These classic indie staples - which have been produced by Ed and Dave Sanderson, Milburn’s Joe Carnell and The Crookes’ Adam Crofts - indicate promising things from the singer/songwriter and guitarist from Reverend and the Makers, whose album dropped on the 29th January.
Together the two singles make for a husky soundtrack. The lead single ‘If’, is described as being a ‘love-lorn tale of the struggle between love’s true path and the path which you think you’re destined to follow’. Strings and robust guitar riffs - reminiscent of those Lee Hazlewood tunes from the 60s - and the gentle vocals pronouncing ‘How can I let my heartache if I’m breaking it myself?’ proclaim a visceral understanding of that predicament. It’s a sad song, but nevertheless a corker of a lead single.
‘The River’, too, is a melodious ballad. The crashing drums and piercing piano are softened by the languid bass and the mellow strummings, yet it leaves some breathing room for heavier electric sounds throughout. The phrasing of the chorus makes this a peculiar love song: ‘Down by the river, I’ll wait for you/ If it takes forever, I’ll wait forever too./ Though you may be running, scared of the dawn,/ I’ll be there to catch you, my darling, if you fall’. It flits between a first dance song and yet begs for a cinematic backdrop, in the way that Wolfman’s and Peter Doherty’s ‘For Lovers’ seems to encourage a wintry elopement. Play ‘The River’ while remembering a love story. The nuanced capturing of love and hurt will ring out, satisfyingly so.
The release of the album seemed to have been hampered by a lack of confidence. ‘It’s only taken 10 years or so for me to find the confidence’, says Ed, but hearing these two singles, you wouldn’t believe it. If the songs aren’t indicative of a class act, a look at Cosens’ Youtube page certainly proves it. This isn’t a musician who wants people to know the songs through playbacks, interviews and social media posts; Cosens has videos of himself playing the singles acoustically with the chords on screen so that you can learn and play along. His voice is bonafide - and the Peak District looking moody in the background is a real treat.
For fans of Richard Ashcroft and Richard Hawley, Ed Cosens makes for a wonderful addition to your music collection.
(As of the 9th of January, there is a third release, ‘Madeleine’. Another moody track that warrants a listen, if not for the smashing guitar sounds.)
Written by: Liv Beards
Published: 24th February 2021
Together the two singles make for a husky soundtrack. The lead single ‘If’, is described as being a ‘love-lorn tale of the struggle between love’s true path and the path which you think you’re destined to follow’. Strings and robust guitar riffs - reminiscent of those Lee Hazlewood tunes from the 60s - and the gentle vocals pronouncing ‘How can I let my heartache if I’m breaking it myself?’ proclaim a visceral understanding of that predicament. It’s a sad song, but nevertheless a corker of a lead single.
‘The River’, too, is a melodious ballad. The crashing drums and piercing piano are softened by the languid bass and the mellow strummings, yet it leaves some breathing room for heavier electric sounds throughout. The phrasing of the chorus makes this a peculiar love song: ‘Down by the river, I’ll wait for you/ If it takes forever, I’ll wait forever too./ Though you may be running, scared of the dawn,/ I’ll be there to catch you, my darling, if you fall’. It flits between a first dance song and yet begs for a cinematic backdrop, in the way that Wolfman’s and Peter Doherty’s ‘For Lovers’ seems to encourage a wintry elopement. Play ‘The River’ while remembering a love story. The nuanced capturing of love and hurt will ring out, satisfyingly so.
The release of the album seemed to have been hampered by a lack of confidence. ‘It’s only taken 10 years or so for me to find the confidence’, says Ed, but hearing these two singles, you wouldn’t believe it. If the songs aren’t indicative of a class act, a look at Cosens’ Youtube page certainly proves it. This isn’t a musician who wants people to know the songs through playbacks, interviews and social media posts; Cosens has videos of himself playing the singles acoustically with the chords on screen so that you can learn and play along. His voice is bonafide - and the Peak District looking moody in the background is a real treat.
For fans of Richard Ashcroft and Richard Hawley, Ed Cosens makes for a wonderful addition to your music collection.
(As of the 9th of January, there is a third release, ‘Madeleine’. Another moody track that warrants a listen, if not for the smashing guitar sounds.)
Written by: Liv Beards
Published: 24th February 2021
Albumb Review: Carla Bruni by Carla Bruni
Carla Bruni’s latest album is her first in three years, and the album marks a series of firsts for the French singer. Eponomously titled, Carla Bruni marks a different direction, no doubt obvious in the title. Most artist’s begin their careers with a self titled album, but Bruni’s decision seems to indicate a new start with songs reflecting a calm and controlled personal journey. Alongside this, her new album showcases her first songs in English and Italian - ‘Your Lady’ and ‘Voglo l’Amore’, which is performed by Bruni and her sister Valeria Bruni Tedeschi - and her ability to compose at the piano (‘La Chambre vide’). This results in commanding and affecting short ditties, which are tailored and perfectly breezy.
Bruni tells stories with a childlike wonderment and so the result is often simplistic narratives accompanied by charming melodies which are nevertheless emotional and engaging. She said of her process: “When I write a song, I try and make it sound familiar, simple to the ear. I avoid complexity, because it makes things seem artificial.” The opening track, ‘Quelque chose’ certainly reflects this, often repeating the title (‘something’) in a sweet interrogation.
Bruni’s style of working is complemented by the work of her producer, Albin de la Simone, who had planned the arrangements for these songs before anyone entered the studio. In just six days, Bruni and her musicians completed the album. But this tight knit way of working hardly restricts the sound, and I think Bruni does herself a disservice by saying she avoids complexity. In fact, ‘Un secret’ demonstrates her poetic storytelling abilities. Nevertheless, the album is easy on the ear, not just in her versatile smoky vocals but in their arrangements: from the sleepy journey of ‘Partir dans la nuit’ and the toe tapping groove of ‘Rien que l’extase’, Bruni excels in creating different moods.
It has become a signature almost of Bruni to include a song about an animal. On her third album Comme si de rien n’etait (2008) she released ‘L’antilope’, in which ukuleles and strings accompany a light song of buoyant, joyful galloping - an ode to the antelope. In 2013, ‘Le Pingouin’ detailed a scathing attack on the penguin, for his apparent uncouthness. This time, Bruni focuses on the cheetah in ‘Le petit guépard’. Her breathy vocals take on a cheekiness on an otherwise melancholic and desire-driven collection.
Bruni’s return is marked by a freedom in her work. Yet there’s also a return to form. The album cover shows Bruni wearing an outfit by her friend and designer Hedi Slimane. It’s signature ‘Bruni’: casual, edgy and fun - a truly visual demonstration of her latest release. This new album flows from one lovely tune to another, hitting an effortlessly charming chord.
Written by: Liv Beards
Published: 3rd February 2021
Bruni tells stories with a childlike wonderment and so the result is often simplistic narratives accompanied by charming melodies which are nevertheless emotional and engaging. She said of her process: “When I write a song, I try and make it sound familiar, simple to the ear. I avoid complexity, because it makes things seem artificial.” The opening track, ‘Quelque chose’ certainly reflects this, often repeating the title (‘something’) in a sweet interrogation.
Bruni’s style of working is complemented by the work of her producer, Albin de la Simone, who had planned the arrangements for these songs before anyone entered the studio. In just six days, Bruni and her musicians completed the album. But this tight knit way of working hardly restricts the sound, and I think Bruni does herself a disservice by saying she avoids complexity. In fact, ‘Un secret’ demonstrates her poetic storytelling abilities. Nevertheless, the album is easy on the ear, not just in her versatile smoky vocals but in their arrangements: from the sleepy journey of ‘Partir dans la nuit’ and the toe tapping groove of ‘Rien que l’extase’, Bruni excels in creating different moods.
It has become a signature almost of Bruni to include a song about an animal. On her third album Comme si de rien n’etait (2008) she released ‘L’antilope’, in which ukuleles and strings accompany a light song of buoyant, joyful galloping - an ode to the antelope. In 2013, ‘Le Pingouin’ detailed a scathing attack on the penguin, for his apparent uncouthness. This time, Bruni focuses on the cheetah in ‘Le petit guépard’. Her breathy vocals take on a cheekiness on an otherwise melancholic and desire-driven collection.
Bruni’s return is marked by a freedom in her work. Yet there’s also a return to form. The album cover shows Bruni wearing an outfit by her friend and designer Hedi Slimane. It’s signature ‘Bruni’: casual, edgy and fun - a truly visual demonstration of her latest release. This new album flows from one lovely tune to another, hitting an effortlessly charming chord.
Written by: Liv Beards
Published: 3rd February 2021
Album Review: You've Always Been Here by The Jaded Hearts Club
A powerhouse of talent, The Jaded Hearts Club puts a brand new spin on the cover album; You’ve Always Been Here is full of swagger, meticulous musical observation, and above all, bloody good fun. These guys know how to bring a song to life, inject something that was missing, and make you get on the table to dance. It takes a certain genius to bring a song’s musical history into a recording and lay out your own take on it. You can hardly be surprised given the line up: Miles Kane, solo artist and Last Shadow Puppet-eer, Nic Cester of Jet, Matt Bellamy of Muse, Graham Coxon of Blur, Jamie Davis, and Sean Payne of The Zutons. And the genesis of this supergroup - Davis brought the lads together for his birthday party to perform Beatles covers, and were originally called Dr Pepper’s Jaded Hearts Club Band - is appropriately hilarious and wholesome in equal parts.
Prepare to hear covers from each end of the spectrum: from Motown, to blues, to psychedelics - like any good cover band, variety is key. And from the beginning, you’ll be surprised as to what the band will pull out of the bag. First on the set list, a snippet of rousing rendition of Vera Lynn’s ‘We’ll Meet Again’, delivered by Bellamy with signature tenor. It is fitting that Bellamy opens and closes the album, this time with a sensually breathy take on Little Willie John’s ‘Fever’. It’s very clear that Bellamy is looking at Peggy Lee’s version in tempo, but Willie John’s sex appeal is still very much present. Drawing upon that seductive command from Muse’s ‘Time is Running Out’ that sent fans into a frenzy, Bellamy’s falsetto murmurs draw the heated and furious album to a close, but still fans the flames.
Kane and Cester share vocals for the remaining songs on the album. Cester kicks off with a ceremonial and epic cover of The Four Tops ‘Reach Out I’ll Be There’, growling and roaring amongst the crashing drums and sonic bass, courtesy of Payne and Bellamy, respectively. This song gives you just a taste of the lungs on Cester. Nothing quite prepares you for the sheer power of his ‘I Put a Spell on You’, whose screaming seers like no other cover of the song. Coxon’s screeching guitar brings a heavy rock feel to the blues original, full of fury and desperation. It’s not just blues that Cester excels in; he does justice to funk and soul with a rendition of Marvin Gaye’s ‘This Love Starved Heart of Mine (It’s Killing Me), but perhaps his forte is his take on Shocking Blue’s ‘Long and Lonesome Road’.
Kane takes on classics from The Sonics, Chris Clark, The Beatles and The Human Beinz with an effortlessly signature attitude. You can almost feel the immense fun he has covering Clark’s ‘Love’s Gone Bad’ soul epic. No longer is this a synthy groove, it’s a throbbing rock stomper. A mod in his youth, Kane surely relished the opportunity to give his all for ‘Money (That’s What I Want) and his scratchy voice, akin to Lennon’s ‘Twist and Shout’, plays well over booming pedals. Kane taps into the history of these songs, but the swaggering vocals and cocksure allure: that’s all Miles.
You’ve Always Been Here is a masterclass on how to have fun with a cover: experiment, refine, and go all out. It’s self-indulgent, but don’t let that lead you to think it’s an album not worth listening to. Here’s to hoping for some original material from the band; their sounds and talents suggest that, if this were on the cards, their output will be monumental.
Written by: Liv Beards
Published: 20th January 2021
Prepare to hear covers from each end of the spectrum: from Motown, to blues, to psychedelics - like any good cover band, variety is key. And from the beginning, you’ll be surprised as to what the band will pull out of the bag. First on the set list, a snippet of rousing rendition of Vera Lynn’s ‘We’ll Meet Again’, delivered by Bellamy with signature tenor. It is fitting that Bellamy opens and closes the album, this time with a sensually breathy take on Little Willie John’s ‘Fever’. It’s very clear that Bellamy is looking at Peggy Lee’s version in tempo, but Willie John’s sex appeal is still very much present. Drawing upon that seductive command from Muse’s ‘Time is Running Out’ that sent fans into a frenzy, Bellamy’s falsetto murmurs draw the heated and furious album to a close, but still fans the flames.
Kane and Cester share vocals for the remaining songs on the album. Cester kicks off with a ceremonial and epic cover of The Four Tops ‘Reach Out I’ll Be There’, growling and roaring amongst the crashing drums and sonic bass, courtesy of Payne and Bellamy, respectively. This song gives you just a taste of the lungs on Cester. Nothing quite prepares you for the sheer power of his ‘I Put a Spell on You’, whose screaming seers like no other cover of the song. Coxon’s screeching guitar brings a heavy rock feel to the blues original, full of fury and desperation. It’s not just blues that Cester excels in; he does justice to funk and soul with a rendition of Marvin Gaye’s ‘This Love Starved Heart of Mine (It’s Killing Me), but perhaps his forte is his take on Shocking Blue’s ‘Long and Lonesome Road’.
Kane takes on classics from The Sonics, Chris Clark, The Beatles and The Human Beinz with an effortlessly signature attitude. You can almost feel the immense fun he has covering Clark’s ‘Love’s Gone Bad’ soul epic. No longer is this a synthy groove, it’s a throbbing rock stomper. A mod in his youth, Kane surely relished the opportunity to give his all for ‘Money (That’s What I Want) and his scratchy voice, akin to Lennon’s ‘Twist and Shout’, plays well over booming pedals. Kane taps into the history of these songs, but the swaggering vocals and cocksure allure: that’s all Miles.
You’ve Always Been Here is a masterclass on how to have fun with a cover: experiment, refine, and go all out. It’s self-indulgent, but don’t let that lead you to think it’s an album not worth listening to. Here’s to hoping for some original material from the band; their sounds and talents suggest that, if this were on the cards, their output will be monumental.
Written by: Liv Beards
Published: 20th January 2021
Album Review: Album No 8 by Katie Melua
Album No 8 is the new soundtrack for the English rose; ethereal and dizzy, the album creates cinematic epics of private tumults. Produced by Leo Abrahams, Melua here showcases some of her strongest vocal performances and her lyrical confessions are only made more spectacular by the accompanying musical arrangements. Nancy Sinatra and Lee Hazelwood come to mind when the strings play out, a Bond-esque score for passionate and love-drunk memories. But the gentile, heartbreaking fragility that creates richly powerful stories, that is all Melua.
‘A Love Like That’ introduces the philharmonic murmur that will simmer and rise throughout the album, calling on moody notes from the classical pantheon and also folky tones. If this opening track sets out the sound, ‘English Manner’ presents Melua’s mastery of the lyrical narrative. The song, co-written by long time collaborator and bassist Tim Harries, tells of a love-triangle. It’s unlike the ordinary musing on a love affair; it displays an acute observation from the inside and outside perspective, no doubt a skill Melua picked up from her writing classes at the Faber Academy. She draws on the vernacular of old folk songs, with lines such as ‘his wife’s hair had golden ripples, she's in a painting with a mulberry tree. When I asked him did he love me better, he didn’t even look at me’.
The album flits between sultry tones, with a hidden funk to them - calling on her love for Elis Regina and Antonio Carlos Jobim - to relaxed musings that place her as somewhat of a Dylan-esque bard. And while there are stories being told, there's always a sense of Melua’s personal experience of things behind them. Much uncertainty plagued the genesis of this album; in the press release material, Melua is quoted as saying ‘I just didn’t know what was possible anymore. And no-one was going to answer that question for me. You have to figure out that puzzle yourself’.
It seems that her insecurities drove her to consume as much music and fiction as possible and this album displays her exceptional knowledge of story, form and worlds. Her perspective on things have changed. Take her ‘Nine Million Bicycles’ in relation to ‘Airtime’: ‘There are nine million bicycles in Beijing, that’s a fact, it’s a thing we can’t deny, like the fact that I will love you ‘till I die’. The innocent metaphor that set that standard for Melua’s debut now has changed, to a simple statement: ‘I think we’ve given love too much airtime’. Not only does this album show Melua as a skilled songwriter, but also as a fantastic vocalist. Of course we knew this, but I implore you to listen to ‘Heading Home’ and not agree that this is some of the best vocals Melua has done to date. It is certainly testament to the vocal recordings being from the final sessions - Leo Abrahams noted that ‘That run-through was one of the most extraordinary performances I’ve witnessed in the studio’.
Listening to Album No 8 does feel like you’re witness to something extraordinary. It’s folky kicks and slowed down confessionals are rosy, sepia immersions. It’s a cool tonic and Melua simply shimmers.
Written by: Liv Beards
Published: 6th January 2021
‘A Love Like That’ introduces the philharmonic murmur that will simmer and rise throughout the album, calling on moody notes from the classical pantheon and also folky tones. If this opening track sets out the sound, ‘English Manner’ presents Melua’s mastery of the lyrical narrative. The song, co-written by long time collaborator and bassist Tim Harries, tells of a love-triangle. It’s unlike the ordinary musing on a love affair; it displays an acute observation from the inside and outside perspective, no doubt a skill Melua picked up from her writing classes at the Faber Academy. She draws on the vernacular of old folk songs, with lines such as ‘his wife’s hair had golden ripples, she's in a painting with a mulberry tree. When I asked him did he love me better, he didn’t even look at me’.
The album flits between sultry tones, with a hidden funk to them - calling on her love for Elis Regina and Antonio Carlos Jobim - to relaxed musings that place her as somewhat of a Dylan-esque bard. And while there are stories being told, there's always a sense of Melua’s personal experience of things behind them. Much uncertainty plagued the genesis of this album; in the press release material, Melua is quoted as saying ‘I just didn’t know what was possible anymore. And no-one was going to answer that question for me. You have to figure out that puzzle yourself’.
It seems that her insecurities drove her to consume as much music and fiction as possible and this album displays her exceptional knowledge of story, form and worlds. Her perspective on things have changed. Take her ‘Nine Million Bicycles’ in relation to ‘Airtime’: ‘There are nine million bicycles in Beijing, that’s a fact, it’s a thing we can’t deny, like the fact that I will love you ‘till I die’. The innocent metaphor that set that standard for Melua’s debut now has changed, to a simple statement: ‘I think we’ve given love too much airtime’. Not only does this album show Melua as a skilled songwriter, but also as a fantastic vocalist. Of course we knew this, but I implore you to listen to ‘Heading Home’ and not agree that this is some of the best vocals Melua has done to date. It is certainly testament to the vocal recordings being from the final sessions - Leo Abrahams noted that ‘That run-through was one of the most extraordinary performances I’ve witnessed in the studio’.
Listening to Album No 8 does feel like you’re witness to something extraordinary. It’s folky kicks and slowed down confessionals are rosy, sepia immersions. It’s a cool tonic and Melua simply shimmers.
Written by: Liv Beards
Published: 6th January 2021
Single Review: Sunflowers by Christopher Ate the Sun
‘Sunflowers’ is the debut single by Christopher Ate the Sun - the alias of Christopher Aitchison. It is a gentle, kind anthem built around the suffering of abusive relationships. The lyrics display acute observations on the subject of abusive relationships. He uses the sunflower as the epitome of personal growth and how it can become stunted should it be left without the basic necessities. The track will no doubt be of comfort to those who find themselves in such situations.
This alternative acoustic track demonstrates not only lyrical prowess, but also measured musical control. The image of a wilted sunflower is heartbreaking - such magnificent creations deserve the water and the light to survive, and so to see one left behind is truly upsetting. The conversion of this image into a commentary on someone stuck in a toxic relationship makes the song not only a heartfelt tribute, but also an anthem of hope.
It flits between raindrop sounding synthesizers and languid strummings which creates a captivating sound. ‘Sunflowers’ is gentle and empowering, an amazing feat considering that the song was recorded and performed entirely by Aitchison. The layered harmonics compliment both the lighter synths and the heavier acoustic guitar playing throughout. It has the sound of a big band effort, which only goes to show the presence and authority of Aitchison’s vocals.
Aitchison’s project was created so that he could focus on making songs with more personal themes including illness, family and relationships. The calibre of musicianship displayed in this song makes for excitement at what is next to come from Christopher Ate the Sun.
‘Sunflowers’ is available to listen now on Spotify.
Written by: Liv Beards
Published: 7th October 2020
This alternative acoustic track demonstrates not only lyrical prowess, but also measured musical control. The image of a wilted sunflower is heartbreaking - such magnificent creations deserve the water and the light to survive, and so to see one left behind is truly upsetting. The conversion of this image into a commentary on someone stuck in a toxic relationship makes the song not only a heartfelt tribute, but also an anthem of hope.
It flits between raindrop sounding synthesizers and languid strummings which creates a captivating sound. ‘Sunflowers’ is gentle and empowering, an amazing feat considering that the song was recorded and performed entirely by Aitchison. The layered harmonics compliment both the lighter synths and the heavier acoustic guitar playing throughout. It has the sound of a big band effort, which only goes to show the presence and authority of Aitchison’s vocals.
Aitchison’s project was created so that he could focus on making songs with more personal themes including illness, family and relationships. The calibre of musicianship displayed in this song makes for excitement at what is next to come from Christopher Ate the Sun.
‘Sunflowers’ is available to listen now on Spotify.
Written by: Liv Beards
Published: 7th October 2020
Album Review: Sleepy Little Sailor (Deluxe Edition) by Oh Susanna
Oh Susanna’s Sleepy Little Sailor, originally released in 2000, has been re-released as a deluxe edition. The new issue showcases some remastered originals along with five acoustic versions of the tracks appearing on the first release. The album is a wonderful concoction of blues, bluegrass, a little new indie, but a lot of soul. Suzie Ungerleider, the woman behind Oh Susanna has escaped me, and so I hope this review encourages those, who like me, are on the lookout for something new.
The first track off the album, ‘Sleepy Little Sailor’, is a siren-esque sea shanty reminiscent of something from Jeff Buckley’s Grace. Zeppelin notes open up the song, and the sleepy drums that accompany this tune make for an enchanting opening number. Ungerleider has said of this track ‘I think we have all been the Sleepy Little Sailor at some point in our lives, trying to save our dreams in the face of the greater forces of nature’. The sailor, ‘fighting for his dreams, out in crashing sea’ evokes a maritime noir feel with a feminine force unapologetic in her influence. It is heartbreaking that in the next track, a re-recording of ‘River Blue’, this strength is presented alongside vulnerability and fragility. ‘River Blue’ showcases Ungerleider’s incredible vocals in a song that details the devastation of leaving behind someone whilst fleeing for their own safety; ‘Little sister I don’t blame you for thinking I sold you down a river blue’, but remember, ‘I was just a kid, too’. Apparently, it’s her most requested song, and I can see why. Not only is it a powerful track, but one that you automatically start singing along to.
Track 3 is pure blues, as it should be. ‘I’ve Got Dreams to Remember’ is a cover of Otis Redding’s 1968 original. Ungerleider’s bluegrass take brings a fragility and desperation that compliments the original. I was always a fan of Robert Palmer’s cover, but I think this one definitely tops it! ‘King’s Road’ is, along with ‘River Blue’, another re-recording; this time a more new indie feel is given to it.
Track 5, ‘All That Remains’, proves that the blues belong to women. In a song that touches on a loss, the lyrics reveal a powerful feminine force, again, somewhat maritime, about being born, given a name by her mother but ‘covered in shame’ by it. Whispers, is, ‘all that remains’. In 2001, the band played this for their recorded ‘Live at The Redeemer’ show. It was performed in a church, which is so fitting for the sound. This track is sure to be a favorite amongst those who like the crossroads, devil-summoning sounds of the blues artists Dorothy and Jill Andrews.
‘Beauty Boy’ is a strange, Salome type song, one of obsessive love, which rings back to the eeriness first heard in the opening track. ‘Sacrifice’ is perhaps the most confessional song on the album. It’s a song that mulls over the sacrifices one makes in a relationship and the devastation that comes with the other person refusing to do so. ‘Forever at Your Feet’ carries this theme on, with images of shackles and feelings of helplessness.
‘Ted’s So Wasted’ is a truly lovely song, one which I can imagine being played at a mid-western wedding as a first dance (though the lyrics certainly tell of a relationship going wrong!). The slide guitar jangles against her loose vocals, which are now a powerhouse as opposed to hurt whisperings. Play this song loud, and sway away.
It seems that the lover has been released of this obsessive hold in ‘St Patrick’s Day’. Alone in their room they lie hurt, but there seems some hope. ‘You’re pretty face nevermore I’ll see’; the separation seems horrible, they're drifting out to sea, and as sad as this song seems, it feels that things will get better. ‘Ride On’ is the longest song on the album, running at just over ten minutes. The length of the song allows for the cinematic and conceptual ideas behind the song. A young man leaving home, presumably somewhere far away, even joining a war. The hook, ‘ride on’, is an apt message for the whole of the album. Despite the hurt, despite the struggle, always ride on.
The acoustic songs feature toward the end of the album showcasing the power these songs hold despite being stripped back. These songs include ‘Sleepy Little Sailor’, ‘Sacrifice’, ‘Beauty Boy’, ‘River Blue’, ‘Kings Road’, and ‘You’ll Win Again’. Alongside listening to this album it is worth watching the accompanying behind-the-music videos up on Youtube that detail the thoughts behind the tracks when they were written almost twenty years ago.
Sleepy Little Sailor is an album I would recommend to everyone. For those who are familiar with Oh Susanna, I can imagine that this re-issue has aged wonderfully, and is an example of an album that has stood the test of time. Be prepared to feel heartache, empowerment, and some damn good blues.
Written by: Liv Beards
Published: 18th September 2020
The first track off the album, ‘Sleepy Little Sailor’, is a siren-esque sea shanty reminiscent of something from Jeff Buckley’s Grace. Zeppelin notes open up the song, and the sleepy drums that accompany this tune make for an enchanting opening number. Ungerleider has said of this track ‘I think we have all been the Sleepy Little Sailor at some point in our lives, trying to save our dreams in the face of the greater forces of nature’. The sailor, ‘fighting for his dreams, out in crashing sea’ evokes a maritime noir feel with a feminine force unapologetic in her influence. It is heartbreaking that in the next track, a re-recording of ‘River Blue’, this strength is presented alongside vulnerability and fragility. ‘River Blue’ showcases Ungerleider’s incredible vocals in a song that details the devastation of leaving behind someone whilst fleeing for their own safety; ‘Little sister I don’t blame you for thinking I sold you down a river blue’, but remember, ‘I was just a kid, too’. Apparently, it’s her most requested song, and I can see why. Not only is it a powerful track, but one that you automatically start singing along to.
Track 3 is pure blues, as it should be. ‘I’ve Got Dreams to Remember’ is a cover of Otis Redding’s 1968 original. Ungerleider’s bluegrass take brings a fragility and desperation that compliments the original. I was always a fan of Robert Palmer’s cover, but I think this one definitely tops it! ‘King’s Road’ is, along with ‘River Blue’, another re-recording; this time a more new indie feel is given to it.
Track 5, ‘All That Remains’, proves that the blues belong to women. In a song that touches on a loss, the lyrics reveal a powerful feminine force, again, somewhat maritime, about being born, given a name by her mother but ‘covered in shame’ by it. Whispers, is, ‘all that remains’. In 2001, the band played this for their recorded ‘Live at The Redeemer’ show. It was performed in a church, which is so fitting for the sound. This track is sure to be a favorite amongst those who like the crossroads, devil-summoning sounds of the blues artists Dorothy and Jill Andrews.
‘Beauty Boy’ is a strange, Salome type song, one of obsessive love, which rings back to the eeriness first heard in the opening track. ‘Sacrifice’ is perhaps the most confessional song on the album. It’s a song that mulls over the sacrifices one makes in a relationship and the devastation that comes with the other person refusing to do so. ‘Forever at Your Feet’ carries this theme on, with images of shackles and feelings of helplessness.
‘Ted’s So Wasted’ is a truly lovely song, one which I can imagine being played at a mid-western wedding as a first dance (though the lyrics certainly tell of a relationship going wrong!). The slide guitar jangles against her loose vocals, which are now a powerhouse as opposed to hurt whisperings. Play this song loud, and sway away.
It seems that the lover has been released of this obsessive hold in ‘St Patrick’s Day’. Alone in their room they lie hurt, but there seems some hope. ‘You’re pretty face nevermore I’ll see’; the separation seems horrible, they're drifting out to sea, and as sad as this song seems, it feels that things will get better. ‘Ride On’ is the longest song on the album, running at just over ten minutes. The length of the song allows for the cinematic and conceptual ideas behind the song. A young man leaving home, presumably somewhere far away, even joining a war. The hook, ‘ride on’, is an apt message for the whole of the album. Despite the hurt, despite the struggle, always ride on.
The acoustic songs feature toward the end of the album showcasing the power these songs hold despite being stripped back. These songs include ‘Sleepy Little Sailor’, ‘Sacrifice’, ‘Beauty Boy’, ‘River Blue’, ‘Kings Road’, and ‘You’ll Win Again’. Alongside listening to this album it is worth watching the accompanying behind-the-music videos up on Youtube that detail the thoughts behind the tracks when they were written almost twenty years ago.
Sleepy Little Sailor is an album I would recommend to everyone. For those who are familiar with Oh Susanna, I can imagine that this re-issue has aged wonderfully, and is an example of an album that has stood the test of time. Be prepared to feel heartache, empowerment, and some damn good blues.
Written by: Liv Beards
Published: 18th September 2020
Album Review: True Love Waits by The COronas (So Far So GOod Records)
It’s almost time for the release of True Love Waits, The Coronas sixth album. It’s been three years since the release of their last album, and fans have been eager to hear how the band would rally after the amicable loss of their guitarist Dave McPhillips. Back as a trio, The Corona’s have come back fighting, facing delays due to a certain virus with whom they share a name, to bring us True Love Waits, and yes, it was worth the wait!
In becoming a trio, the band have branched out in this album, working with musicians and songwriters which have taken them in new directions. The title track True Love Waits was written with Cian MacSweeny, frontman of Cork-formed, Dublin-based trio True Tides, one of The Coronas’ favourite bands and their recent support act. The song is a beautiful combination of gentle and uplifting - a love song that captures the delight of the moment, the awareness that change can happen, but returning to enjoy the here and now all the same.
Much of the album comes from the band’s demo recordings, and there is a definite feeling of spontaneity to the music that gives it a warmth of feeling often only felt in live performances.
The Corona’s first album duet, Lost In The Thick Of It, with Gabrielle Aplin is a standout track. Aplin’s voice works perfectly with Danny O’Reilley’s, their harmony is a genuine pleasure to listen to, and this was definitely a song I wanted to stick on repeat after the first listen.
There is much that is calm, mellow and soothing about this album, but there is powerful emotion too. This is particularly felt in I Think We Jinxed it. The chorus of this track has a powerful lift that seems to spring up out of mellow and steady verses, making it all the more captivating and heartfelt.
Although the songs on this album can be distinctly heard as belonging to The Coronas, there is variety and depth to these tracks that demonstrate the breadth of talent in the band, and their determination to try new things with their music.
True Love Waits is out on 31st July 2020 with So Far So Good Records.
Written by: Beth O'Brien
Published: 29th July 2020
In becoming a trio, the band have branched out in this album, working with musicians and songwriters which have taken them in new directions. The title track True Love Waits was written with Cian MacSweeny, frontman of Cork-formed, Dublin-based trio True Tides, one of The Coronas’ favourite bands and their recent support act. The song is a beautiful combination of gentle and uplifting - a love song that captures the delight of the moment, the awareness that change can happen, but returning to enjoy the here and now all the same.
Much of the album comes from the band’s demo recordings, and there is a definite feeling of spontaneity to the music that gives it a warmth of feeling often only felt in live performances.
The Corona’s first album duet, Lost In The Thick Of It, with Gabrielle Aplin is a standout track. Aplin’s voice works perfectly with Danny O’Reilley’s, their harmony is a genuine pleasure to listen to, and this was definitely a song I wanted to stick on repeat after the first listen.
There is much that is calm, mellow and soothing about this album, but there is powerful emotion too. This is particularly felt in I Think We Jinxed it. The chorus of this track has a powerful lift that seems to spring up out of mellow and steady verses, making it all the more captivating and heartfelt.
Although the songs on this album can be distinctly heard as belonging to The Coronas, there is variety and depth to these tracks that demonstrate the breadth of talent in the band, and their determination to try new things with their music.
True Love Waits is out on 31st July 2020 with So Far So Good Records.
Written by: Beth O'Brien
Published: 29th July 2020
Album Review: Window Shopping by ROry Butler (Vertical Records)
Rory Butler’s debut album, Window Shopping, was released on 10th July 2020 with Vertical Records. Butler is a Scottish singer-songwriter and guitarist and his debut record combines gentle rhythms with a wistful mind across nine tracks.
The opening two songs, ‘Tell Yourself’ and ‘Lost and Found’, have a beautifully soft sound as Butler’s guitar and melodic voice complement each other to produce music that feels both soothing and sobering.
There’s a theme of feeling lost in this album. Not only in the song ‘Lost and Found’, but also in ‘Mind your business’. This song asks ‘What is it with my generation? What is it with my kind? We are lost and living alone [..] living at home’. These lines give a glimpse into the tongue and cheek side to Butler and his album which is worth listening out for!
The tempo lifts in songs like ‘Simon Says’ and ‘Window Shopping’, the latter being the track for which the album is named. ‘Window Shopping’ imagines Butler ‘window shopping for nothing on the main street’, the confusion of the world, ‘the right to be rich, the right to be wrong’ while others are under-paid and over-qualified. Butler finishes one verse saying, ‘call it what you want, I just can’t afford it’. Although the track is upbeat and there is tongue and cheek humour, there’s serious stuff to think about too.
‘Straight Talking Man’ picks up as the guitar is joined by the strong drums for the chorus. Butler sings how ‘the straight talking man with a glass in his hand will never fail to find me’ and how ‘every door of the world that just falls around him’. Butler is adamantly aware of the day-to-day hardship and struggles of people, real people, with hard work to do and bills to pay. This is true of the song ‘Lynda’s Cafe’ and the down-to-earth feel of Butler’s album injects a warmth into the melodies.
The final song on the album, ‘Have I Come Down’, returns to the mellow guitar and long, instrumental introduction. Butler does a great job at foregrounding his lyrics in this song, retrospectively wondering if he has wasted his younger days, to come full circle to wonder, ‘Have I wasted all my older years, thinking of my past’.
The calm instrumentals, Butler’s wistful voice, and capturing lyrics makes for an album that is a genuine pleasure on the ears, something to relax to, but also one that rewards close listening and attention.
Written by: Beth O'Brien
Published: 20th July 2020
The opening two songs, ‘Tell Yourself’ and ‘Lost and Found’, have a beautifully soft sound as Butler’s guitar and melodic voice complement each other to produce music that feels both soothing and sobering.
There’s a theme of feeling lost in this album. Not only in the song ‘Lost and Found’, but also in ‘Mind your business’. This song asks ‘What is it with my generation? What is it with my kind? We are lost and living alone [..] living at home’. These lines give a glimpse into the tongue and cheek side to Butler and his album which is worth listening out for!
The tempo lifts in songs like ‘Simon Says’ and ‘Window Shopping’, the latter being the track for which the album is named. ‘Window Shopping’ imagines Butler ‘window shopping for nothing on the main street’, the confusion of the world, ‘the right to be rich, the right to be wrong’ while others are under-paid and over-qualified. Butler finishes one verse saying, ‘call it what you want, I just can’t afford it’. Although the track is upbeat and there is tongue and cheek humour, there’s serious stuff to think about too.
‘Straight Talking Man’ picks up as the guitar is joined by the strong drums for the chorus. Butler sings how ‘the straight talking man with a glass in his hand will never fail to find me’ and how ‘every door of the world that just falls around him’. Butler is adamantly aware of the day-to-day hardship and struggles of people, real people, with hard work to do and bills to pay. This is true of the song ‘Lynda’s Cafe’ and the down-to-earth feel of Butler’s album injects a warmth into the melodies.
The final song on the album, ‘Have I Come Down’, returns to the mellow guitar and long, instrumental introduction. Butler does a great job at foregrounding his lyrics in this song, retrospectively wondering if he has wasted his younger days, to come full circle to wonder, ‘Have I wasted all my older years, thinking of my past’.
The calm instrumentals, Butler’s wistful voice, and capturing lyrics makes for an album that is a genuine pleasure on the ears, something to relax to, but also one that rewards close listening and attention.
Written by: Beth O'Brien
Published: 20th July 2020
Album Review: Confessional by Janet Devlin (Insomnia Music Records)
'Northern Ireland’s Janet Devlin’s new album, Confessional, is a twelve track narrative of folk-pop and it’s out 5th June 2020 with Insomnia UK. The first track gives the album its name, ‘Confessional’, and is a powerful opening, bursting with folk melodies and a strong beat. Devlin tells her listeners exactly what to expect from this album. She is going to use these twelve tracks to make twelve confessions. By the end of this first song, Devlin has us ready to listen.
In Track 2, ‘So Cold’, the strong drums are replaced by the piano. Devlin says ‘all that’s left is the melody’, but all this does is throw her poetic lyrics into sharper relief. The repeated refrain in this track is, ‘You’re so young to be sad, they say. You’re so young to be so old.’ Devlin’s maturity is clear from her music, and the bridge increases in power and tempo, as anger and frustration at being told what to feel comes to the fore.
Holy water, saints and sinners are recurring themes of Devlin’s songs and ‘Saint of the Sinners’ is no exception. Devlin’s distinctive voice is beautifully addictive and I really found myself listening to every word, ironically, as she sings, ‘Don’t trust a word I say.’ With this album, though, I do trust her. There is honesty here, and power too.
Track 4 brings a considerable shift. ‘Cinema Screen’ is unmistakably catchy, with bright pop-folk melodies. Devlin uses this song to describe knowing that you need to move on from a no-good someone, but all you can do is think about them ‘on the cinema screen in the back of my forehead’. You’ll be singing along to this song before it’s over!
Following this is ‘Speak’. Another shift in mood from Cinema Screen, but for me, the bravest song on the entire album. ***The focus of this song is sexual assault, so please go carefully***. Devlin’s soft voice, against a gentle melody lets the horror of her words stand tall as she speaks in the bravest ways she can. I cried. From living in silence, not ready to speak, Devlin’s song voices the pain and fear that came before the strength to speak.
In ‘Honest Men’, Devlin asks ‘Where have all the honest men gone?’. This song is dark, with a Lorde-feel to it, Calling to the angel of death to ‘save me’, the eeriness of this song cannot be ignored. But it is powerful. As if answer to her own question, the next song, ‘Love Song’, picks up the mood with a ‘maybe’ love song. This track is steady, warm, and another one you’ll be joining in before the end!
The same goes for Track 8. More pop than folk, ‘Big Wide World’ is a stark contrast to songs such as Honest Men. It’s cheesy, fun, and chirpy - I could almost imagine it to be in a musical! None of this is a criticism, it just goes to show the diversity of Devlin’s music. It’s the sort of song I’d play in the morning to get your day started on the happiest of notes!
In Track 9, ‘Away with the Fairies’, Devlin sings about her struggles with alcoholism, which gives this song a sombre, yet brave undertone. There is something freeing about this song, too, as Devlin sings, ‘My soul is confessing my life in a verse’, finally able to share her journey to recovery after years of struggling. Following this is the track, ‘Sweet Sacred Friend’ which is a bitter-sweet song of Devlin’s determination to recover from her alcoholism, as she bids farewell to the support and escapism she had found in alcohol. Without knowing about Devlin’s struggles and triumph, you could easily hear this as a farewell to any toxic friendship or relationship, which, is exactly what it is.
In Track 11, ‘Holy Water’, Devlin sings of the cleansing process this album has been, which she hopes is the end, and that she can sleep again. I can’t listen to this enough! Hugely catchy and uplifting, it has a depth of honesty the carries the song. Though she sings of the wish to ‘Save me from me’, she finishes on a defiant note: ‘I hope to never run away but if i ever do, don't you dare come running too.’
The final track on the album is ‘Better Now’ and it’s a gentle resolution. Devlin asks ‘Can you hear me now?’ She set us up to listen to her confessions, and this song reminds us that this has been a journey of ups and downs, and all the time we’re rooting for her!
This is an album to be proud of, one many will relate to and feel encouraged by. It’s brave and beautiful, and a privilege to listen to. You can buy Confessional from Janet Devlin's website (as well as her autobiography My Confessional), or stream it from all good streaming services!
Written by: Beth O’Brien
Published: 5th June 2020
In Track 2, ‘So Cold’, the strong drums are replaced by the piano. Devlin says ‘all that’s left is the melody’, but all this does is throw her poetic lyrics into sharper relief. The repeated refrain in this track is, ‘You’re so young to be sad, they say. You’re so young to be so old.’ Devlin’s maturity is clear from her music, and the bridge increases in power and tempo, as anger and frustration at being told what to feel comes to the fore.
Holy water, saints and sinners are recurring themes of Devlin’s songs and ‘Saint of the Sinners’ is no exception. Devlin’s distinctive voice is beautifully addictive and I really found myself listening to every word, ironically, as she sings, ‘Don’t trust a word I say.’ With this album, though, I do trust her. There is honesty here, and power too.
Track 4 brings a considerable shift. ‘Cinema Screen’ is unmistakably catchy, with bright pop-folk melodies. Devlin uses this song to describe knowing that you need to move on from a no-good someone, but all you can do is think about them ‘on the cinema screen in the back of my forehead’. You’ll be singing along to this song before it’s over!
Following this is ‘Speak’. Another shift in mood from Cinema Screen, but for me, the bravest song on the entire album. ***The focus of this song is sexual assault, so please go carefully***. Devlin’s soft voice, against a gentle melody lets the horror of her words stand tall as she speaks in the bravest ways she can. I cried. From living in silence, not ready to speak, Devlin’s song voices the pain and fear that came before the strength to speak.
In ‘Honest Men’, Devlin asks ‘Where have all the honest men gone?’. This song is dark, with a Lorde-feel to it, Calling to the angel of death to ‘save me’, the eeriness of this song cannot be ignored. But it is powerful. As if answer to her own question, the next song, ‘Love Song’, picks up the mood with a ‘maybe’ love song. This track is steady, warm, and another one you’ll be joining in before the end!
The same goes for Track 8. More pop than folk, ‘Big Wide World’ is a stark contrast to songs such as Honest Men. It’s cheesy, fun, and chirpy - I could almost imagine it to be in a musical! None of this is a criticism, it just goes to show the diversity of Devlin’s music. It’s the sort of song I’d play in the morning to get your day started on the happiest of notes!
In Track 9, ‘Away with the Fairies’, Devlin sings about her struggles with alcoholism, which gives this song a sombre, yet brave undertone. There is something freeing about this song, too, as Devlin sings, ‘My soul is confessing my life in a verse’, finally able to share her journey to recovery after years of struggling. Following this is the track, ‘Sweet Sacred Friend’ which is a bitter-sweet song of Devlin’s determination to recover from her alcoholism, as she bids farewell to the support and escapism she had found in alcohol. Without knowing about Devlin’s struggles and triumph, you could easily hear this as a farewell to any toxic friendship or relationship, which, is exactly what it is.
In Track 11, ‘Holy Water’, Devlin sings of the cleansing process this album has been, which she hopes is the end, and that she can sleep again. I can’t listen to this enough! Hugely catchy and uplifting, it has a depth of honesty the carries the song. Though she sings of the wish to ‘Save me from me’, she finishes on a defiant note: ‘I hope to never run away but if i ever do, don't you dare come running too.’
The final track on the album is ‘Better Now’ and it’s a gentle resolution. Devlin asks ‘Can you hear me now?’ She set us up to listen to her confessions, and this song reminds us that this has been a journey of ups and downs, and all the time we’re rooting for her!
This is an album to be proud of, one many will relate to and feel encouraged by. It’s brave and beautiful, and a privilege to listen to. You can buy Confessional from Janet Devlin's website (as well as her autobiography My Confessional), or stream it from all good streaming services!
Written by: Beth O’Brien
Published: 5th June 2020
Album Review: The Strokes - ‘The New Abnormal’, Cult and RCA Records
Like any band that defined an era in your life, a small sense of caution appears when they pop up on your playlist, even more so when they release new music. The Strokes are one such band. After a media blackout for their 2013 album, Comedown Machine, which was accompanied with mixed feelings - myself included - the release of ‘At the Door’ seemed too out-of-nowhere, and I was reluctant to become excited. So when the notification that today was the day to hear The New Abnormal pinged through my headphones, I was hesitant.
The first three songs did little to solve this. But the 4th, now that’s where it gets good. First things first, the chorus of ‘Bad Decisions’ sounds a hell of a lot like Billy Idol’s ‘Dancing With Myself’ (something I hadn’t noticed when it was released as a single earlier this year) but I promise you that is not a criticism. The stripped back guitar is fresh; there’s a few jangle’s of the scale, but solid chords cement this song as an indie pop bop. ‘Eternal Summer’ is a mellow one, and there’s always something so relaxing about it when Julian Casablancas sings in a slight falsetto - hear his collaboration with Daft Punk on Instant Crush for some truly great vocals. It contrasts wonderfully with the frustrated proclamations of “I can’t believe it, this is the eleventh hour”, and the desperate anger that spits ‘your silence is no longer needed’ is quite gripping.
The standout singles for me are ‘At the Door’ and ‘Why Are Sunday’s So Depressing’. The absence of any real percussion in ‘At the Door’ struck me as strange when it was first released, but it feels like a gentle break from some of the more break-neck speed tunes, and even they aren’t incredibly fast. It’s a different kind of sluggish from the rest. ‘Why Are Sunday’s So Depressing’ is lead single material - languid, decent lyrics and a cracking guitar solo. Also, with it’s Smiths sounding title, it’s hard not to expect a Morrissey led tune with those opening drums.
It’s hard not to have energy in more techno influenced music, but it is do-able and it can have wonderful results. Kevin Parker’s Tame Impala is testament to this. But most of The New Abnormal is recycled vibes from the earlier 2000’s garage rock plain they dominated for years. Tensions between the band have plagued the reception of any new Strokes material, but for once it seems it's quieted down, one could argue to their own detriment. The Strokes in The New Abnormal are not trying anything new really, sitting comfortably on the fence.
Listen to The New Abnormal on all good music providers.
Written by: Liv Beards
Published: 4th May 2020
The first three songs did little to solve this. But the 4th, now that’s where it gets good. First things first, the chorus of ‘Bad Decisions’ sounds a hell of a lot like Billy Idol’s ‘Dancing With Myself’ (something I hadn’t noticed when it was released as a single earlier this year) but I promise you that is not a criticism. The stripped back guitar is fresh; there’s a few jangle’s of the scale, but solid chords cement this song as an indie pop bop. ‘Eternal Summer’ is a mellow one, and there’s always something so relaxing about it when Julian Casablancas sings in a slight falsetto - hear his collaboration with Daft Punk on Instant Crush for some truly great vocals. It contrasts wonderfully with the frustrated proclamations of “I can’t believe it, this is the eleventh hour”, and the desperate anger that spits ‘your silence is no longer needed’ is quite gripping.
The standout singles for me are ‘At the Door’ and ‘Why Are Sunday’s So Depressing’. The absence of any real percussion in ‘At the Door’ struck me as strange when it was first released, but it feels like a gentle break from some of the more break-neck speed tunes, and even they aren’t incredibly fast. It’s a different kind of sluggish from the rest. ‘Why Are Sunday’s So Depressing’ is lead single material - languid, decent lyrics and a cracking guitar solo. Also, with it’s Smiths sounding title, it’s hard not to expect a Morrissey led tune with those opening drums.
It’s hard not to have energy in more techno influenced music, but it is do-able and it can have wonderful results. Kevin Parker’s Tame Impala is testament to this. But most of The New Abnormal is recycled vibes from the earlier 2000’s garage rock plain they dominated for years. Tensions between the band have plagued the reception of any new Strokes material, but for once it seems it's quieted down, one could argue to their own detriment. The Strokes in The New Abnormal are not trying anything new really, sitting comfortably on the fence.
Listen to The New Abnormal on all good music providers.
Written by: Liv Beards
Published: 4th May 2020
EP Review: It's Only Thursday by Rose and Cloud
Rose & Cloud is the stage name of Staffordshire Poet Laureate Emily Galvin and professional musician John MacLeod. Their love-child, made up of music and words, came together earlier this year and the pair have been touring stages, festival grounds and open mic spaces around the West Midlands and beyond since then. Coupling heartfelt poetry with atmospheric instrumentals, the pair have come together to create something touching, unique and – I genuinely believe – quite good for the soul.
Their debut EP, It’s Only Thursday, is made up of five tracks – some of which were longstanding favourites of mine, and some entirely new. ‘Slow Jazz’, which sees Galvin borrow from the subtitles of La La Land, is a brutal but beautiful introspective look at a terrible, terrible day, the type where: ‘you can’t quite explain the sudden downpour of blackened mascara tears’. MacLeod captures the melancholy with understated instrumentals that sit neatly between Galvin’s verses, and this sets a strong tone for the rest of the release.
‘If You’re Listening To This Then, Yes, It Is About You’ shows a harsher side to both artists. While Galvin spins an offensive tale of conceited associates – who may or may not be fictional, who’s to say – MacLeod is given the opportunity to increase the ferocity of his musical contribution here, delivering harsh but complementary sounds that perfectly match the curt delivery of the poetry on this track. The two deliver a perfect mix of light and shade across the tracks that follow too, culminating in the beautiful ‘A What If’ that closes the EP. With soft instrumentals and gentle but provocative words, this track is the perfect end to what is, as a whole, a brilliant debut from this pair.
It’s Only Thursday delivers a beautiful taste of things to come from Rose & Cloud, I’m sure of it. Galvin’s words are heartfelt but they’re given a new dimension by MacLeod who lifts them up a notch in terms of their auditory delivery, with both poetry and instrumentals proving a joy to listen to – individually, of course, but when put together they make for something special.
The EP is available (just £3 for a digital download and £5 for a physical copy!) on Bandcamp now so if you’re looking for something to tug on your heartstrings in the lead-in to the weekend, then click right here and strap in.
Written by: Charley Barnes
Published: 7th August 2019
Their debut EP, It’s Only Thursday, is made up of five tracks – some of which were longstanding favourites of mine, and some entirely new. ‘Slow Jazz’, which sees Galvin borrow from the subtitles of La La Land, is a brutal but beautiful introspective look at a terrible, terrible day, the type where: ‘you can’t quite explain the sudden downpour of blackened mascara tears’. MacLeod captures the melancholy with understated instrumentals that sit neatly between Galvin’s verses, and this sets a strong tone for the rest of the release.
‘If You’re Listening To This Then, Yes, It Is About You’ shows a harsher side to both artists. While Galvin spins an offensive tale of conceited associates – who may or may not be fictional, who’s to say – MacLeod is given the opportunity to increase the ferocity of his musical contribution here, delivering harsh but complementary sounds that perfectly match the curt delivery of the poetry on this track. The two deliver a perfect mix of light and shade across the tracks that follow too, culminating in the beautiful ‘A What If’ that closes the EP. With soft instrumentals and gentle but provocative words, this track is the perfect end to what is, as a whole, a brilliant debut from this pair.
It’s Only Thursday delivers a beautiful taste of things to come from Rose & Cloud, I’m sure of it. Galvin’s words are heartfelt but they’re given a new dimension by MacLeod who lifts them up a notch in terms of their auditory delivery, with both poetry and instrumentals proving a joy to listen to – individually, of course, but when put together they make for something special.
The EP is available (just £3 for a digital download and £5 for a physical copy!) on Bandcamp now so if you’re looking for something to tug on your heartstrings in the lead-in to the weekend, then click right here and strap in.
Written by: Charley Barnes
Published: 7th August 2019
Ep Review: Susie Mills - Make Sense Of It
Susie Mills is a British-based singer-songwriter who takes her inspiration from indie-folk classic sounds, in order to build her own music. Earlier this year, after much preparation, Mills released her debut EP Make Sense Of It, which showcases these indie inspirations in a final polished release. Five-tracks strong, Make Sense Of It is an emotional exploration of troubled loves, complemented by crooning vocals and gentle instrumentals that will resonate across many listeners.
In the opening track, Distance, Mills is supported by barely audible instrumentals for the first minute stretch of the song. This sparsity allows for her well-controlled vocals – sitting well along the confusion relayed by her lyrics – to establish themselves before being accompanied by a more noticeable baseline later in the track. Meanwhile, Battlefield, the second track in, sets a different tone with guitar-led instrumentals to introduce the track before Mills’ vocals cut in again with beautiful lyrics to showcase them: “Take down your walls, lay down your shield, let’s make a way out of this battlefield.”
Throughout the tracks that follow, Mills delivers heartfelt lyrics (Make Sense Of It, the EP’s title track, being a particularly powerful illustration of this), gentle instrumentals (Colours), and all too relatable experiences: “How come nobody warned me this could be a lonely place?” (Rabbit Hole). The way that these individual elements hang together make for a coherent and cohesive sound across the EP, which is no easy feat, particularly for a debut.
That said, while there’s no doubt that Mills’ crooning vocals and laidback instrumentals pair well together, it would have been nice to have a splash more variety to the EP as well. One track showcasing a slightly more upbeat sound, if for no other reason than to show a little more of Mills’ vocals are capable of, would have been a welcome addition. Although Mills might have this in her back-pocket for the next release, so I suppose we’ll come back for another listen when her next work arrives.
Make Sense Of It is available across various listening platforms, including Spotify and Apple Music, so if you’re looking for something that’s easy on the ears but hard on the heartstrings, Susie Mills is certainly worth a listen.
Written by: Charlotte Barnes
Published: 22nd July 2019
In the opening track, Distance, Mills is supported by barely audible instrumentals for the first minute stretch of the song. This sparsity allows for her well-controlled vocals – sitting well along the confusion relayed by her lyrics – to establish themselves before being accompanied by a more noticeable baseline later in the track. Meanwhile, Battlefield, the second track in, sets a different tone with guitar-led instrumentals to introduce the track before Mills’ vocals cut in again with beautiful lyrics to showcase them: “Take down your walls, lay down your shield, let’s make a way out of this battlefield.”
Throughout the tracks that follow, Mills delivers heartfelt lyrics (Make Sense Of It, the EP’s title track, being a particularly powerful illustration of this), gentle instrumentals (Colours), and all too relatable experiences: “How come nobody warned me this could be a lonely place?” (Rabbit Hole). The way that these individual elements hang together make for a coherent and cohesive sound across the EP, which is no easy feat, particularly for a debut.
That said, while there’s no doubt that Mills’ crooning vocals and laidback instrumentals pair well together, it would have been nice to have a splash more variety to the EP as well. One track showcasing a slightly more upbeat sound, if for no other reason than to show a little more of Mills’ vocals are capable of, would have been a welcome addition. Although Mills might have this in her back-pocket for the next release, so I suppose we’ll come back for another listen when her next work arrives.
Make Sense Of It is available across various listening platforms, including Spotify and Apple Music, so if you’re looking for something that’s easy on the ears but hard on the heartstrings, Susie Mills is certainly worth a listen.
Written by: Charlotte Barnes
Published: 22nd July 2019
Single Review: Sia - Never Give Up
If you’re on the look-out for some stellar sounds to accompany the grizzly first week back at work following the Christmas period, then look no further than the wonderful Sia, because she has released a defiant new single and it is everything we need to get through January. Titled Never Give Up, the track is taken from the upcoming Lion movie and it’s a hugely enjoyable listen.
The instrumentals are rhythmic allowing for a subtle dance along quality – or at the very least, the odd shoulder shimmy. The sound is well put together and well-polished making for a brilliant accompaniment to the steadfast vocals delivered here by Sia herself. She throws an appropriate light and shade on the track which complements the lyrics brilliantly, and also allows for some real conviction to come through as she belts out the chorus.
From start to finish this is a crackin’ little number and it bodes well for the rest of Lion’s soundtrack. For a quick listen to the single yourselves, you can find it online by clicking here.
Written by: Charlotte Barnes
Published: 5 January 2017
The instrumentals are rhythmic allowing for a subtle dance along quality – or at the very least, the odd shoulder shimmy. The sound is well put together and well-polished making for a brilliant accompaniment to the steadfast vocals delivered here by Sia herself. She throws an appropriate light and shade on the track which complements the lyrics brilliantly, and also allows for some real conviction to come through as she belts out the chorus.
From start to finish this is a crackin’ little number and it bodes well for the rest of Lion’s soundtrack. For a quick listen to the single yourselves, you can find it online by clicking here.
Written by: Charlotte Barnes
Published: 5 January 2017
Cher Lloyd Reveals Official Video for new Track
Cher Lloyd – of X Factor fame – has been flitting in and out of music since her appearance on the singing show. After a series of half-baked singles, the star recently went ahead and previewed the audio for her latest stab at the charts, Activated – and I’m not too proud to admit that as contemporary pop tracks go, this was actually a half-decent little single. Now alongside the audio Lloyd has dropped an official video for the track and, in true trying-to-make-a-statement pop style, it’s a little... odd.
The video is a mash up of fierce attitude (which fits wonderfully with the single itself) and semi-Cyborg like dancers – I’m not altogether sure where they fit in, if I’m honest. The absurdity of the official video alongside the polished feel on the track does do a lot for Lloyd here, though, offering a slightly more serious and promising attempt at establishing her name in the changing music scene. It’s an encouraging offering and definitely worth a quick listen; you can find Activated online for yourselves now by clicking here. Written by: Charlotte Barnes Published: 25 August 2016 |
Single Review: Tove lo - Cool Girl
Tove Lo has featured on some seriously hot tracks over the past six months or so, and now she’s continuing that theme with a fairly fiery number of her own in the form of the recently revealed Cool Girl. A free-love anthem, the track is likely to garner a fair few listeners in this final stretch of summer.
Lo’s vocals are steadfast and distinct from the opening bars, maintaining a great control through the verse before being appropriately ramped up for the feisty chorus that follows. A delicious nod to Gone Girl’s Cool Girl monologue, Lo belts out, ‘I’m a cool girl, Ice cold, I roll my eyes at you, boy’ in between lyrics that plead for sexual freedom and a non-exclusive relationship. All this is wrapped up neatly in a well-polished beat with instrumentals that carry that track half-into some dance territory making for a decent sound overall. A cracking little release, this is sitting firmly at the top of our playlist for this week and you can take a listen for yourselves by clicking here. Written by: Charlotte Barnes Published: 25 August 2016 |
Single Review: Mac Miller - Dang! Feat. Anderson .Paak
If you’re looking for a new slow jam inspired number for your weekend playlist then look no further, because Mac Miller has just teamed up with Anderson .Paak for a seriously slick collaboration and it’s the perfect lovechild of old style R&B coupled with a medley of beats worthy of a top chart position.
The track, titled Dang!, introduces Paak’s understated and whispy vocals over the beat-heavy instrumentals that introduce the track and hang steady throughout the whole single. Paak’s vocal delivery here is a perfect balance against Miller’s rap, which carries the verses admirably, and the two sounds work together to give the track a great layering and a solid variation of pace. The instrumentals throughout are steadfast, holding the beat consistently to ensure that the energy on this never drops making for a surprisingly lively single as well. A catchy little number, complete with an official music video as well, you can find Dang! online now by clicking here. |
Single Review: Jason Derulo - Kiss The Sky
Brace yourselves, folks, because Jason Derulo has only gone and dropped his catchy single for this summer – titled Kiss The Sky – and, whether you like it or not, we’re tipping this as a single that’s going to be making an appearance all over the place over the coming weeks and months.
True to Derulo’s form, the single kicks in with heavy beats from the beginning and Derulo’s distinct vocal kicks in quickly after this. The vocal on the verse itself is steadfast, despite not bringing in anything particularly note-worthy; the chorus, though, is a different story altogether as Derulo cuts in with an absurd range here showing the great range of sounds hidden away in his repertoire. The single is a get up and dance anthem if ever there was one, with great sounds on the instrumentals, lyrics that should – and most likely will – be chanted back, and hooks that will just grab you. However you look at it, Kiss The Sky is quite the summer smash. There’s no official video for the track just yet, but you can check out the audio on YouTube now. |
Single Review: Lindsey Stirling - Something Wild
Lindsey Stirling has won some new listeners recently with her latest solo single, The Arena. The track was an atmospheric release that showed a tense and theatrical side to the artist and now, to further that theatrical side, Stirling has revealed a new track, Something Wild featuring Andrew McMahon, which is featured on Disney’s upcoming Pete’s Dragon release.
The instrumentals on this are a stunning medley of Stirling on violin and McMahon on piano and the pair make for a deliciously organic sound, delivering the whole track without any sort of interference from external sounds. The simplicity of the music here sits wonderfully as well alongside McMahon’s raspy vocal that compounds the innocent feel of the track – heightened again by the lyrics here – and makes it a perfect little number for the film. Easy but beautiful listening, Something Wild is worth throwing on for some good musical company this weekend. The track also comes complete with an official video – made up of sample shots taken from the film – which you can find here. Written by: Charlotte Barnes Published: 6 August 2016 |
Single Review: Banks - Gemini Feed
Banks’ new single, Gemini Feed, dropped on YouTube earlier this week – bringing along with it details of a new album, so keep your eyes out for that – and the track is a beat-drenched, melancholic number that is bringing with it an unexpectedly (for me) brilliant sound.
Previously Banks has felt a little hit and miss for me, if I’m honest, falling firmly into the category of artists, ‘If they’re on, I’ll listen, but if they’re not then I’m not changing the track.’ Gemini Feed, though, has turned that around. Banks’ vocal delivery here is appropriately strained and well-paced delivering heartfelt lyrics as she discusses her time in a relationship with a man who doesn’t love her back, and the instrumentals are beat heavy enough to make this into quite the sway-along number in the right setting. Also – a little prediction here – it’s only a matter of time before producers start picking this single up for some slick and lively remixes as well. A neat and polished little number, Gemini Feed is definitely worth a listen this weekend and you can find the audio by clicking here. Written by: Charlotte Barnes Published: 6 August 2016 |
Single Review: Shawn Mendes - Three Empty Words
Shawn Mendes is completely cashing in on the summer months when it comes to churning out new music. With new singles dropping from the young singer every couple of weeks now, the latest to join the line-up is the official audio for Three Empty Words, which was dropped on YouTube just a few hours ago.
The track is an acoustic guitar led number which lends an innocence and vulnerability to the instrumental here, picked up greatly by Mendes' downplayed vocal delivery which, by comparison to some of his more recent singles, actually sounds particularly young on this track - which, again, only adds to endearing feel. The lyrics themselves are neat and well-crafted and while it isn't up there as a sing a long track, it's certainly going to make for some easy listening. There's no official video for the single just yet but you can check out the official audio for it now by clicking here. Written by: Charlotte Barnes Published: 3 August 2016 |
Charlie Puth Drops Video For We Don't Talk Anymore
The Charlie Puth and Selena Gomez collaboration on We Don't Talk Anymore has been kicking around the internet for a while now, but it has had its ante upped this week with the arrival of a new music video for the track.
The single itself doesn't make for hugely impressive listening, if I'm honest. It's a generic pop single that, admittedly, has a good balance of sounds between the two vocal deliveries. But the hook of the track is, well, it's missing. There's nothing here that pulls me in or holds my attention, so while the track might make for semi-decent background music, as summer smash hits go this is certainly missing one or two key ingredients. The video, at least, is a neatly shot split perspective of a man and a woman who - wait for it - appear to not be in each other's life anymore (I bet you never saw that coming), and you can find it online now by clicking here. Written by: Charlotte Barnes Published: 3 August 2016 |
Single Review: Boyce Avenue - Don't Let Me DOwn
Boyce Avenue are wasting no time at all in throwing out new content this summer. After a recent cover of Shawn Mendes’ Treat You Better, the band dropped some original content in the shape of Your Biggest Fan, and now they’re back again with a cover of The Chainsmokers’ pre-summer smash hit, Don’t Let Me Down, and their acoustic spin on this is one of their finest so far this year.
The instrumentals on this certainly don’t suffer for the lack of technical interference, offering a beautifully organic sound throughout that is well-paced and perfectly controlled, bringing a new level of intimacy to the track. The vocal only compounds this further, particularly with the impressive range that we hear on this single with the high notes sitting brilliantly in Manzona’s comfort zone. It’s a heartfelt and hard-hitting cover – the two things that Boyce Avenue arguably do best – and it’s definitely worth a listen, particularly if you’re looking for something to soothe the Monday blues. You can find the track and the official music video for it on YouTube now by clicking here. Written by: Charlotte Barnes Published: 1 August 2016 |
Single Review: Broods - Heartlines
Broods is the stage name of Georgia and Caleb Nott, who have been kicking around the music scene under this guise since 2013. Their ever growing fan base is beginning to secure them some mainstream attention and, having recently dropped a new single that will lend itself oh so easily to the club scene this summer, the duo are likely to grab more attention with the beat-heavy Heartlines.
Georgia’s vocal on this is beautifully crooning and distinct, lending some real emotion to the well-crafted lyrics, on the chorus on particular, that makes for catchy listening – ‘We could fool the datelines, we could jump the statelines, I don’t always play nice, but I wanna feel your heartlines.’ The instrumentals here are beat-heavy throughout but they make great use of light and shade as they are pulled back on the stretches of verse before ramping up ahead of the chorus, adding a brilliant pace to the single as well. It’s a neat little release that definitely deserves a spot on the summer playlist, and you can check it out for yourselves by clicking here. Written by: Charlotte Barnes Published: 1 August 2016 |
Single Review: The Chainsmokers - Closer
The Chainsmokers have dropped quite a few tracks this year that could easily sweep in as summer smash hits, but, just to make sure they’re not missing any opportunities, this week that have dropped their actual summer smash – titled Closer, and featuring Halsey – and, if you weren’t in the mood for some time out in the summer sunshine before, then you certainly will be after this.
The instrumental cuts in with a beat heavy but light-hearted feel that sits well behind the two vocal deliveries, both of which are on point throughout. The male vocal that opens the track is distinct and rough sounding, but in an easy on the ears sort of way, and it balances out brilliantly with Halsey who appears, firstly for a collaborative vocal on the chorus, but then for a solo on the stretch of verse that follows. All of the sounds in this just fit together with a great ease that makes for not only a good balance on the track but also a good variety of sounds which lends itself well to the ever-increasing beat we feel as this single slowly ramps up. If you’re on the cusp of a Saturday afternoon/evening in the sun with some friends then this is definitely a track worth listening to this morning. You can find the single, and the official video, by clicking here. Written by: Charlotte Barnes Published: 30 July 2016 |
Single Review: Bastille - Fake It
Bastille have dropped a second single from their upcoming album and I am trying my level best not to lose my composure with excitement at the moment – it’s not working, but I really am trying. The second single to drop, Fake It brings yet another sound to the table but if you were expecting something similar to their Good Grief, then I’d tweak those expectations before you take a listen.
Fake It is heartfelt, tortured, and a definite slow build with crooning vocals and lazy instrumentals that build into a gorgeously gritty climax for the second stretch of the track. The influences that were fed into Bastille’s first album are back with a vengeance here so if you’re a fan of the band’s old sound then this is definitely a single for you. Dan’s vocal delivery is as distinct as ever and it sits beautifully around the rising instrumentals of the track making for something near-menacing, compounded further by the troubled-love lyrics that make up the single. A wonderful little release, Fake It shows massive promise for Bastille’s upcoming album and, after the last two singles, I know I can’t be alone in saying that I can’t wait to see what comes next from these guys. You can check out the track for yourselves now by clicking here. Written by: Charlotte Barnes Published: 30 July 2016 |
Single Review: Syklar Grey - Off Road
Skylar Grey has dropped some seriously hot singles for some of Hollywood’s biggest blockbluster films in recent years, but her later release, Off Road, is an entirely solo effort – and it’s not a single to be missed. It’s been picking up steam since it was dropped on Grey’s YouTube channel a couple of days back – you can find it now by clicking here – and it comes complete with a Samsung-fuelled video – you’ll see what we mean...
The track is rich in melancholic sounds throughout. While the instrumentals are well-produced and sharply polished making for a heavy and distinct beat throughout the single, Grey’s vocals bring it back to ground level with a great amount of control and little range, which actually works in the track’s favour here. The chorus cuts in with some ear-catching production as well which ticks the change of pace box and allows for an interlude of new sounds, giving the track a little more movement. Off Road is likely to be a decent seller on the club scene this summer – not only is it a good track as it stands, but it will lend itself well to remixes over the coming months, too. Make sure you have a listen. Written by: Charlotte Barnes Published: 27 July 2016 |
Single Review: This Wild Life - Break Down
This Wild Life made their first appearance on my radar a little earlier this week and I’ve been binging on their back catalogue of music since then. So imagine my sheer delight at opening YouTube this morning and seeing that the pop-punk pair had dropped a video for an acoustic live session just sixteen hours ago. Cue more binge-listening.
Everything is peeled back for this single. As acoustics go there is a lot of instrumental work here which just goes to show what the pairing are capable of in terms of their musical abilities alone – their vocals abilities here are something else altogether. The range and control is absurdly good from both sides and they just make the lyrics on this single even more bittersweet. If you’re currently in the throes of a relationship crisis then this is a single worth dodging because these lines pack quite the punch. A well-crafted and heartfelt little release, Break Down is an impressive addition to the This Wild Life catalogue of tracks and it’s definitely worth a listen. You can find the track online now by clicking here. Written by: Charlotte Barnes Published: 27 July 2016 |
Single Review: Boyce Avenue - Your Biggest Fan
Boyce Avenue have just dropped an original single online – cue out of control squealing in an exceptionally girly tone. The band have been throwing out one brilliant cover after another recently – see our recent review of their take on Shawn Mendes hovering about below – so it’s wonderful to finally hear from original content again. And the track, titled Your Biggest Fan, is just every kind of lovely.
Generally speaking the trio bring to their tracks a great medley of instrumentals and vocal delivery, and this is certainly no exception. One element that shines in particular here as well, though, are the lyrics, which are stunning and heartfelt from the opening line and the vocal delivery of them just furthers adds to the sincerity of the track as a whole. The instrumentals have that great acoustic undercurrent – that we also expects from the boys – and as a whole package this single just makes for easy – albeit slightly mushy – Monday listening. There’s no official video for the single just yet but you can find the official lyric video online now by clicking here. |
Single Review: Die Antwoord - Banana Brain
Die Antwoord’s recently released Banana Brain is picking up some major steam on YouTube at the moment. However, if you’re mostly unfamiliar with what to expect from the rap-rave group, then this is quite the introduction to their sound!
As if rap-rave hadn’t given anything anyway, the sound on this single is an ear-catching mash up of well-controlled rap stretches and absurdly high-pitched, tech-infused vocals that make up the irritatingly catchy chorus – which I realise makes it sound like a bad thing. Truthfully, the technical ability on this track is actually superb and genuinely impressive at times, but as for whether it’s a decent listen, I’m completely undecided. If you’re a fan of the group then there’s a good chance this is everything you could want and expect from a Die Antwoord single. If you’re coming to them with fresh ears, it might be better to start elsewhere. Either way, you can find the track here. |
Troye Sivan Reveals Music Video For Wild
Cast your minds back a month or so ago to when Troye Sivan - one of our favourite young artists of the moment - teamed up with Alessia Cara - ahem, our other favourite young artist of the moment - for a collaboration. The track, titled Wild, made for wonderful listening and only further compounded our (growing) love for these two artists, and now we've got an official music video to get excited over as well.
Recently dropped on YouTube, the little release is a great accompaniment to the single itself, and you can find it now just below. Written by: Charlotte Barnes
Published: 25 July 2016 |
Single Review: This Wild Life - Pull Me Out
This Wild Life are an acoustic pop-punk pairing who hail from sunny Long Beach and, if you happen to be a fan of City and Colour, this is definitely a band you’ll want to jump on board with. A string of successful singles follow these guys around and the latest to join that line up is the recently released Pull Me Out, which packs an almighty punch.
The track is a stunning display of acoustic sounds with the two band members playing their respective riffs like their lives depend on it at times. It makes for a wonderful sound that sits neatly behind the husky vocals that throw light and shade on the well-crafted lyrics, allowing for a great variation in sound across the vocal range alone, and the instrumentals further complement this with their solo stretches that carry the track beautifully. Pull Me Out is a sound little release and, if you weren’t a This Wild Life fan before this single, there’s a great possibility that you will be now. You can find the track, and the official video, by clicking here. Written by: Charlotte Barnes Published: 25 July 2016 |
Single Review: Major Lazer - Cold Water
Major Lazer has dropped a new track online, just in time for the summer sunshine weekend that we’re all looking forward to. Featuring Justin Bieber and MO, the track, titled Cold Water, was dropped on YouTube complete with an official lyric video – music video to follow shortly, no doubt – and it’s a cracking little listen to set you up for the weekend.
Bieber’s vocal takes the lead in the opening stretch of the track offering a surprisingly pure and unfiltered sound, giving us a great view into the catchy lyrics on the track. And, as Bieber pulls back, the instrumentals are ramped up into the lively and polished production that we’ve come to expect from Lazer in recent months. MO’s late interlude on the track offers a brilliant change of pace and sound and, despite my reservations on how these vocals would sit together, they actually blend perfectly making for a great sound that hangs over the beat heavy instrumentals on the track. Throw your shorts on, grab a cold beverage, and tune in, because this is a single for the weekend. You can find it online now by clicking here. |
Single Review: Cher Lloyd - Activated
Cher Lloyd is making a comeback, consider yourself warned. Following the announcement of an upcoming comeback album, the star has also talked extensively about the first single to be taken from the album and she has, conveniently, now dropped that single on YouTube. Titled Activated, the track has a determined sound that could hint at more mature things for the singer’s upcoming album drop, and it’s certainly a promising little listen.
Lloyd’s vocal has a more grown up feel here, although the autotuning habits of yester year certainly die hard and there are moments on the vocal where the sound is just being tinkered with too much for my liking. That being said, the construction of the track as a whole is neat and plays to Lloyd’s abilities greatly. There are near-rap interludes and beat-heavy instrumental hooks which adds another layer to the track, and it benefits greatly from that. It’s a well-polished little number, that's for sure. Old fans or new, it’s worth taking a listen because you’ll be hearing this track all over the place when it officially drops – you can find it now by clicking here. |
Single Review: Shawn Mendes - Ruin
I will, rightly or wrongly, unashamedly admit that I am a fan of Shawn Mendes. Stitches was a crackin’, catchy single, and Treat You Better made for some easy listening. The recently revealed Ruin, though, which was released on YouTube a couple of days back, complete with a dishy black and white video, well, Ruin just beats the lot.
The whole single is more mature and polished than we’ve heard Mendes on previous singles. The catchy sounds and gimmicky lyrics are long gone, and we’re left with an authentic vocal that hints at jazz/blues influences in the opening verse before breaking away into something more tortured and appropriately broken in the track that follows. The lyrics themselves are beautifully crafted, and the simple instrumental that sits behind this just makes the track allowing for something surprisingly intimate to come through. Less weekend on the town, more quiet night in, Ruin is a heartfelt little release that will do well over the coming months, and you can get a taste for the track now by clicking here. Written by: Charlotte Barnes Published: 22 July 2016 |
Single Review: Boyce Avenue - Treat You Better
If Shawn Mendes made Treat You Better lively and catchy, Boyce Avenue are pulling it round to something heartfelt and touching – as is the Boyce Avenue way. If, by some miracle, you’ve got through life without hearing the unbelievably brilliant covers of Boyce Avenue, then their recently released cover of Shawn Mendes’ Treat You Better is a brilliant place to start.
The three-piece band have made a name for themselves by putting acoustic spins of some of pop's best known tracks, and this is another fine example of that. Everything is stripped away from this single, leaving a piano acoustic instrumental and a forceful vocal delivery from Alejandro Luis Manzona, who takes solo control of this cover release. By comparison to the original, the single is much more intimate and sincere, and while the Mendes original is a lively track that makes for easy listening, the Boyce Avenue cover just takes this to a more sincere place, and it works beautifully. If you're putting together a quiet night in playlist then this definitely deserves a spot on it - maybe you can team it up with Mendes' new single, to the left - and you can grab a first listen to the track by clicking here. Written by: Charlotte Barnes Published: 22 July 2016 |
Single Review: Sigma - Redemption
In recent months I’ve become quite the Sigma fan. Their repeated efforts to team up with other artists never fail to deliver and their work alongside the likes of Paloma Faith and Ella Henderson have done wonders for our summer-time playlist. However, now they’re back with another collaboration - this time they’ve teamed up with Diztortion and Jacob Banks - and, although it pains me to say it, I have a tiny criticism…
From the first six seconds alone you can pin this as a Sigma track, or at least I could; that’s how repetitive their instrumentals are becoming - they’re almost a trademark. The track itself, titled Redemption, I actually really like; it’s catchy, the instrumentals are strong - albeit overly familiar - and the vocals from Banks are beautifully on-point throughout the whole song. It’s just that the sound itself, as a whole, is a little too familiar for a track that only emerged a matter of weeks ago. And I can only put that down to the instrumentals from Sigma that just seem to be being transferred from one track to the next. Will the track do well? Probably. Previous singles with the same sound have done remarkably well so there’s no reason why Redemption won’t follow suit. But for me, it could have done with something a little different. You can check out the track for yourselves now by clicking here. Written by: Charlotte Barnes Published: 8 October 2015 |
Little Mix Reveal New
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Lana Del Rey Reveals
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Single Review: KDA - Turn The Music Louder (Rumble)
KDA meets Tinie Tempah, meets Katy B. Has there been a more beat-infused weekend anthem than this so far this year? I'm inclined to say no. This new collaborative track, titled Turn The Music Louder (Rumble), was dropped on YouTube late last month, it's slowly building up steam, and it's oh so easy to see why.
The instrumentals of the track are heavy on the beat but relatively understated around it which allows the vocals from both Tinie Tempah and Katy B to actually be heard on this track, which feels like a novelty in itself. Tempah's rap is on-point as ever in this appearance with slick lyrics that feed perfectly into Katy B's well-controlled vocals that appear just in time to catch the chorus. Overall this is a truly slick number that will undoubtedly do well when it's officially released later this year. Until then, you can check out the track online now by clicking here. Written by: Charlotte Barnes Published: 2 October 2015 |
Sia Reveals New Track, Alive
Sia might have had a great time with her last album, 1000 Forms of Fear (which is a fantastic album), but she's not sitting down yet. The singer/songerwriter is working on her next album, named This Is Acting, and has just released the first song from it.
The song, titled Alive, was co-written with Adele and is a perfect blend of both women's talents. You can check it out now by clicking here. Sam Smith's Spectre Track!
With every James Bond film comes the Bond tune. Skyfall had the excellent Adele and Spectre has Sam Smith, dubbed the male Adele, with Writing's on the Wall. The audio has been released onto the internet and make what you will of it here.
Little Mix Reveal New single
Little Mix seem to be the gift that keep on giving. The girl-band have just released another song from their upcoming third studio album, called Love Me Like You (not to be confused with Ellie Goulding's song Love Me Like You Do). You can listen to the song by clicking here.
Written by: Kasim Kaey Published: 29 September 2015 |
Ed Sheeran & Rudimental Reveal snippet of new Track
Rudimental and Ed Sheeran hit the big time earlier this year with their collaboration on Sheeran’s album track, Bloodstream. Rudimental stepped in and gave the track an extra kick that landed it in the charts, and now it seems that Sheeran is trying to return the favour with another team effort, titled Lay It All On Me.
A snippet of the track was released on YouTube last weekend and although we’ve only been given a minute-long sample of the single, it’s certainly enough to get us hungry for the rest. From what we’ve been given of the track so far, it’s much less lively than we were expecting it to be - but there’s undoubtedly more to come from this (there always is with Rudimental). Sheeran’s vocals are understated, well-controlled, and stunning as always as they fit neatly alongside the restrained instrumentals that hold the promise of a strong beat somewhere in the chorus of the track. Essentially this track, and in particular the lyrics, is the delicacy of Sheeran with the instrumentals of Rudimental’s controlled club sound, and it’s definitely worth a listen. You can check out the snippet now by clicking here. Written by: Charlotte Barnes Published: 29 September 2015 |
Single Review: Melissa Steel - You Love Me
When I saw that Wretch 32 was featuring on Melissa Steel’s new track, You Love Me, I had reasonably high hopes for the pair. Unfortunately, the high hopes barely lasted the first ten seconds of the track which sees fairly basic vocals intertwined with one of the most frustrating and repetitive sounds in music that I think I’ve heard this year.
Steel’s vocals feel overwhelmed by the instrumentals at many points throughout the track, and the self-assured cockiness of the lyrics really isn’t doing anything for us either. The chorus - the prime opportunity to turn things around for the track - only succeeds in cementing the disappointment further at the repetitive sampling of a high-pitched voice repeating ‘You love me, you know that you love me’ that grates after the first minute and a half of the song. Admittedly, Wretch 32 might redeem things a little; perhaps if he’d been given more than a short segment in the back half of the track then it would have shaped up into something a little more impressive. The cutesy track comes complete with an equally cutesy video and you can check out both by clicking here. Written by: Charlotte Barnes Published: 24 September 2015 |
Single Review: Hozier - Jackie and Wilson
Hozier has hit the big time in the mainstream music charts recently. Despite having been floating around in the ether for some time now, it seems that the singer-songwriter has only recently been picked up by the rest of the world following the absolutely epic success of his track, Take Me To Church. Since then his back catalogue of music has been pulled apart by hungry fans and it seems that before the end of the year we’ll be given at least one more track to feast on in the form of Jackie and Wilson.
This track will be an instant hit; we’re predicting it already! The opening instrumentals of the release come complete with a little more edge than we’re used to from Hozier; nevertheless when his vocals kick in shortly afterwards they’re as distinct and recognisable as ever. The chorus itself is light-hearted and catchy, and Hozier’s vocals remain consistently strong and bluesy throughout. There’s no official video for the single just yet but you can, and definitely should, check out a live recording of the single now by clicking here. Written by: Charlotte Barnes Published: 24 September 2015 |
Lady Gaga Releases Hard- Hitting new Track
Lady Gaga has just released some new music that comes with a harrowing message (and video) about sexual assault on college campuses. The song, titled 'Till It Happens To You, was written for The Hunting Ground, a documentary released back in February.
The video, which you can access by clicking here, is a pretty hard watch as well. Beyonce Reveals New Track
Naughty Boy has just released what might be his next huge song because it's a collaboration with Beyonce. Yeah, that's right, the queen of music has decided to make music with the British producer, resulting in Runnin' (Lose It All) which you can listen to here.
Written by: Kasim Kaey Published: 22 September 2015 |
Single Review: The Chainsmokers & Tritonal - Until You Were Gone
The Chainsmokers and Tritonal made an understated entrance into the world of YouTube with their new single a few days ago, and while the track might not be demanding your attention just yet, we think there's a good chance that it will in the near future.
The single, titled Until You Were Gone, features the vocals of Emily Warren while the instrumentals themselves just scream get up and dance. The track sounds relatively low key for the first few beats with every building in pace towards the upbeat chorus that sees the instrumentals hit their peak with such a techno sound that I almost felt like the days of Happy Hardcore were back - but don't let that put you off. Until You Were Gone is sure to be a successful release when it officially arrives later this year, and until then you can check out the audio for the track by clicking here. Written by: Charlotte Barnes Published: 22 September 2015 |
Album Review: Ella Eyre - Feline
Ella Eyre reminds me of Amy Winehouse, if only a little. She has a great voice and that bluesy heartbreak that lives just under her pop songs, giving her songs some depth that might be lacking in other avenues of pop. Her debut album Feline is filled with these songs but the problem might just be in the fact that, unlike Winehouse, Eyre might just fade into air.
As an album, Feline is great to listen to on the treadmill but each song fades fast after you listen to it. Comeback might have you screaming the chorus when it's on but when it's finished, you might be wondering what the chorus was. The songs are all pretty much perfectly manufactured (which is a good thing considering that the album took so long to be released) but it does leave the listener wanting a little more of that raw talent rather than some manufactured pop. Feline might not make it into the history books but I'll put it on my gym playlist for sure. Written by: Kasim Kaey Published: 16 September 2015 |
Single Review: Love For Zero - Aligned
Love For Zero have appeared in the Mad Hatter inbox a lot lately, whether it's a new single or a new music video that's landed. Now, in the midst of their growing success for recent track Step Into The Light, the band have dropped another single and it's just as good - if not even better.
The track, titled Aligned, sounds a little more organic; the vocals are neat and controlled throughout the track and the instrumentals themselves cater to all tastes as each segment of the song shows a different strength of this group. The chorus itself is incredibly catchy with memorable lyrics that provide a good hook, and there's a genuine feel of sincerity to be found in the lyrics: 'The more I think of you the more I know the truth, I will never let you down.' Aligned doesn't have an official video just yet, but you can check out the single now by clicking here. Written by: Charlotte Barnes Published: 16 September 2015 |
Album Review: Jess Glynne - I Cry When I Laugh
Jess Glynne is a name that you might not be aware of (yet) but her voice is something that you are undoubtedly familiar with. For a while now, Glynne has been making waves in the music industry by featuring on popular tracks, such as Rather Be by Clean Bandit. The popularity of such songs has led Glynne to release her own album, I Cry When I Laugh, and it's pretty good, if a little uncentred.
Glynne's voice is pretty great and unique. It's got soul to it with a little bit of grit and it makes for some great pop songs, of which this album has many. Hold My Hand has a great hook, Don't Be So Hard On Yourself is insanely catchy and has a great message, Gave Me Something is simply fantastic to sing along to. But this album isn't just pop - Home is a brooding track that lets Glynne's voice shine, as does Take Me Home, a stirring ballad. However, for every song that shines with Glynne's unique voice and vision, there is a song that falls flat. Saddest Vanilla is a little boring, Ain't Got Far To Go can be considered to be mediocre at best, and Love Me is alright as far as love songs go. For a debut album, it's a good one and Glynne does have a fantastic voice but I'm looking forward to her second album, one that hopefully won't suffer from a lack of coherency or vision. Written by: Kasim Kaey Published: 11 September 2015 |
Review: Marlon Roudette - Everybody Feeling Something
Marlon Roudette made a mainstream name for himself earlier this year with his hit single When The Beat Drops Out, and it looks like he’s taking a stab at recreating that success with his latest offering, Everybody Feeling Something, featuring K Stewart.
The track itself is absurdly and commendably catchy. The instrumentals are a light-hearted medley of sounds that will sit easy on the ears and come complete with a beat that will make you get up and move - which is surely was Roudette is going for with a single like this. The vocals themselves fit neatly over the track with authentic tones throughout the verses and something a little more pop-infused for the chorus. Everybody Feeling Something is sure to be one the last summer-inspired tracks of this year (right?) and given how colourful the track is, we’re expecting it to be an instant hit when it’s officially released in the near future. You can check out the track for yourselves now by clicking here. Written by: Charlotte Barnes Published: 11 September 2015 |
Album Review: Sia - 1000 Forms of Fear
Sia Furler. The name brings to mind such songs as Titanium and Wild Ones, where Furler features on said songs with David Guetta and Flo Rida respectively. The two songs worked to allow the mainstream to become infatuated with her lyrical prowess and she soon found herself on everybody's most wanted list. Since then, she's penned songs for Rihanna (Diamonds), Beyonce (Pretty Hurts), Britney Spears (Perfume), Kylie Minogue (Sexercise); the list goes on. However, Furler is actually a musician in her own right, having released five albums already. And now she's back with her sixth: 1000 Forms of Fear.
The album opens up with hit single Chandelier, which gained millions of views across the world and led Furler to perform live on The Ellen Show (where she performed with her back to the crowd in an attempt to become less famous). The track is a pop song at first glance and though it remains a pop song when you continue listening to it, the lyrics hint at something more sinister. Furler appears to be singing about the regret and shame of party girls who hide behind the pseudo shield that is drinking and partying. Her voice soars and the chorus especially hits hard.
From there on, the album delves into hurt filled songs; Big Girls Cry is a gripping song that speaks about how even the toughest of women need to cry and that's not a bad thing. It dispels the social stigma of crying (I may cry and ruin my makeup). Burn The Pages is a lighter song, melodically speaking, though it speaks about letting go of the past and literally burning the pages of your diary. It doesn't have the emotional punch of the first two, but it works well.
It leads us into Eye Of The Needle which is one of the more emotional songs of the album, and Furler delivers well. She soars over the contemplative piano and drums, singing about how she needs to move on from something that she wants to hold onto; 'And I ain't ready/ And I hold steady/ Yeah, I hold you in my arms'.
Elastic Heart is a throwback to The Hunger Games: Catching Fire; Furler recorded the song for the film with The Weeknd, so it's a surprising addition to the album, though its message works quite well for the album. Strangely enough, it is Sia who delivers the rocking vocals whilst The Weeknd's voice is beautifully subtle, providing a vulnerability to the song. Fire Meet Gasoline is one of the smart songs on the album; Sia uses Fire and Gasoline as metaphors for two people who meet for the first time, the chemistry between the two creating a passion so volatile that it explodes and burns everything.
All in all, 1000 Forms of Fear is exactly what one would expect from Sia. It showcases her absurdly brilliant voice, her lyrical prowess, as well as her ability to create catchy pop songs that have brilliant metaphors under them. Though there are some flaws here (Sia's voice still has that tendency to become unintelligible at times), the album will find a few repeats from me.
Written by: Kasim Kaey
Published: 4 July 2014
The album opens up with hit single Chandelier, which gained millions of views across the world and led Furler to perform live on The Ellen Show (where she performed with her back to the crowd in an attempt to become less famous). The track is a pop song at first glance and though it remains a pop song when you continue listening to it, the lyrics hint at something more sinister. Furler appears to be singing about the regret and shame of party girls who hide behind the pseudo shield that is drinking and partying. Her voice soars and the chorus especially hits hard.
From there on, the album delves into hurt filled songs; Big Girls Cry is a gripping song that speaks about how even the toughest of women need to cry and that's not a bad thing. It dispels the social stigma of crying (I may cry and ruin my makeup). Burn The Pages is a lighter song, melodically speaking, though it speaks about letting go of the past and literally burning the pages of your diary. It doesn't have the emotional punch of the first two, but it works well.
It leads us into Eye Of The Needle which is one of the more emotional songs of the album, and Furler delivers well. She soars over the contemplative piano and drums, singing about how she needs to move on from something that she wants to hold onto; 'And I ain't ready/ And I hold steady/ Yeah, I hold you in my arms'.
Elastic Heart is a throwback to The Hunger Games: Catching Fire; Furler recorded the song for the film with The Weeknd, so it's a surprising addition to the album, though its message works quite well for the album. Strangely enough, it is Sia who delivers the rocking vocals whilst The Weeknd's voice is beautifully subtle, providing a vulnerability to the song. Fire Meet Gasoline is one of the smart songs on the album; Sia uses Fire and Gasoline as metaphors for two people who meet for the first time, the chemistry between the two creating a passion so volatile that it explodes and burns everything.
All in all, 1000 Forms of Fear is exactly what one would expect from Sia. It showcases her absurdly brilliant voice, her lyrical prowess, as well as her ability to create catchy pop songs that have brilliant metaphors under them. Though there are some flaws here (Sia's voice still has that tendency to become unintelligible at times), the album will find a few repeats from me.
Written by: Kasim Kaey
Published: 4 July 2014
