Tag: Album Review

#Review: Bastille – Give Me The Future

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Bastille are a British, indie-pop band that formed in 2010. The band started out as a solo project by lead vocalist, Dan Smith, but eventually morphed into the band it is today. So far, the band have released 3 incredible studio albums (plus a bunch of massive cover projects too!). Now, 2022 sees the release of their fourth full-length album, Give Me The Future. Here’s what we have to say about it…

bastille-give-me-the-future

From the outset, it’s clear that this is a different sound from the band’s previous works, with opening track and lead single, ‘Distorted Light Beam’; an electronic song with cool vocoder use in the latter half, that builds wonderfully throughout.

From there, the listener is taken on an epic journey through a much more electronic soundscape than some of their previous releases but with a much darker lyrical twist. The beats are heavy and laden with many synthesiser elements and the focus is very much on a future that’s full of uncertainty and at times, almost apocalyptic.

That said, it’s counteracted by the upbeat rhythms and dance-inspired music throughout. From the catchy single, ‘Thelma + Louise’ which oozes typical Bastille goodness to the more morbid look at the future of ‘Plug In…’ that looks at the future fate of the world and singer Dan Smith, begging to know everything will be alright; this is an album that deserves to be listened to in its entirety.

This is an album that deserves to be listened to in its entirety.

Executive produced by OneRepublic‘s, Ryan Tedder, it’s easy to see how this album is so catchy and intricate, however there are some parts where I feel it is lacking slightly. The interludes, whilst cinematic in their sound, feel somewhat unnecessary (although can imagine would be amazing to break up a live set!). Don’t get me wrong, they’re definitely worth a listen, particularly ‘Promises’ which is a spoken word poem by actor and rapper Riz Ahmed, who speaks of a less apocalyptic future but instead of one that adores a world filled with love and intimacy. However, in my opinion, whilst they add a nice break in pace of the album, I could take or leave them when relistening to it. Additionally, without these, there are only 10 tracks to the record, so my biggest wish is that there was more to it…but I guess it’s a good thing to leave the listener wanting more?!

Some of the best songs on the album, include: ‘Back To The Future’ (my personal favourite) – an epic disco-esque song with funky guitar and bass lines and movie references throughout; ‘Shut Off The Lights’ with its rhythmic vocal melodies and brilliant gang vocals, making it really stand out and album closer, ‘Future Holds‘ (featuring BIM). The close to the album is fitting both in terms of lyrical content but also its incredible use of gospel backing harmonies and broken-up beat, making it a great end to a great record.

The dystopian themes and darker lyrical content are really prevolent on tracks like ‘No Bad Days’ which features echoing vocals across its many different parts (including a wonderful piano interlude and autotune vocals at the end), ‘Stay Awake?‘ that contains the rather captivating line “stop the world, I want to get off” and the Phil Collins-like beat of the apocalyptic sounding, ‘Give Me The Future’. They are all tracks that weave their way into your subconscious and leave the listener with a lot of food for thought.

In contrast to all the future imagery though, is the rather quirky track, ‘Club 57’ that recalls back at the 70s/80s New York nightclub scene, underpinned by whistling melodies and a seriously electronically distorted soundscape, where even the acoustic guitar is distorted.

Overall, this is a very cinematic-sounding album yet incredibly electronic and there’s so much to love about it. Whilst there’s some darkness to the lyrics, in places, there is a still a degree of optimism too and a massive dose of fun to be had whilst listening to it. The production and arrangements are beautifully crafted and the album truly showcases the band’s ability to grow and evolve, in order to remain current, while still maintaining that distinctive Bastille sound. I can’t wait to see what direction the band take next!

Rating
4.5

‘Give Me The Future’ is out now and can be downloaded from iTunes – https://music.apple.com/gb/album/give-me-the-future/1580064966

Give Me The Future on Spotify

Shut Off The Lights (Official Video)

No Bad Days (Official Video)

Distorted Light Beam (Official Lyric Video)

We hope you’ve enjoyed our review! What do you think of the band’s fourth album? Are you as much of a fan as us? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media.

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#Review: Years & Years – Night Call 🧜🏻‍♂️

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Years & Years is the now solo project from singer and songwriter, Olly Alexander. It originally started out as a band back in 2010, who found great success with two remarkable pop albums before Alexander decided to continue the project as a solo venture in 2021. Now, 2022 sees the release of Years & Years‘ third album (and first as a solo project), Night Call. Here’s what we have to say about it…

Years & Years - Night Call

The album launches perfectly with the funky-bass driven, ‘Consequences’ that aptly repeats the track title with a quirky robotic vocal. It’s an upbeat track which opens the album up in the way it means to go on.

From start to finish, Night Call is an album packed with massive, electro-pop tracks that has a wonderful diversity to its sound. From massive pop singles, like ‘Starstruck’ and the club anthem, ‘Sweet Talker’, with Galantis, to more ethereal and oddly satisfying tracks like ‘Strange And Unusual’, there’s a bit of something for everyone.

There are a couple of pretty sexy tracks on the record, including ‘Intimacy’ which is sexy in both lyrical content and the beat too and ‘Muscle’ with its rumbling bass notes underpinned by a shuffling drum beat. Both songs are growers and could be overlooked but on second and third listens, have a lot to offer to the diversity of the record.

This is undoubtedly a major pop record through and through… this is the new Years & Years.

Title track, ‘Night Call’ is a fun, upbeat song with a cool, telephone dial tone used throughout whilst hit single, ‘Crave’, sees club beats meeting drawn-out and altogether hypnotic vocals.

Some of the best tracks on the album include, ’20 Minutes’ with its falsetto, dreamy vocals atop a modest beat (probably my favourite track on the record), ‘Make It Out Alive’ which has catchy chorus vocals on top of shimmering synths and ‘Immaculate’ a superb, Arabian-esque sounding song, complete with funky guitars and a truly danceable chorus. It’s easy to get lost in these tracks, with their wonderful production quirks and interesting styles.

‘Reflection’ is an unusual close to the album, it has an eerie-sounding beat with some funky aspects to it and the vocals sound different than usual too. It’s not a typical Years & Years song and whilst it’s possibly not the best close to the album, it’s still a good song nonetheless.

This is undoubtedly a major pop record through and through and whilst it’s not quite the same style as the old Years & Years records, it’s an amazing first solo effort from the singer/songwriter. It shows just how much he’s developed as an artist and clearly demonstrates that he has what it takes to stay relevant and one of pop’s biggest hitters.

This is the new Years & Years and I can’t wait to hear what he has to release next.

Rating
4.5

‘Night Call’ is out now and can be downloaded from iTunes – https://music.apple.com/gb/album/night-call-deluxe/1586653480

Night Call on Spotify

Sweet Talker (Official Video)

Crave (Official Video)

Starstruck (Official Video)

We hope you’ve enjoyed our review! What do you think of the singer’s latest album? Are you as much of a fan as us? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media.

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#Review: Chicane – Everything We Had To Leave Behind

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Chicane (aka Nick Bracegirdle) is a British musician, composer, songwriter and producer who has had a string of hits that have been massive on the Ibiza club scene, including ‘Saltwater’ (featuring vocals by Máire Brennan from Clannad), ‘Offshore’, ‘Don’t Give Up’ (featuring Bryan Adams) and ‘Stoned In Love’ (with vocals by the legendary Tom Jones). Now, 2021 sees the release of his eighth album, Everything We Had To Leave Behind (released through Modena Records and Armada Music); here’s what we have to say about it…

chicane-everything-we-had-to-leave-behind

Atmospheric is the only way to describe the opening, title track of the album with its rumbling bass, euphoric synths and haunting vocals from Maltese singer Joseph Aquilina.

In fact, atmospheric is an accurate description for much of the album. Having spent the past year writing and recording the record in his studio, there is a real sense of peaceful reflection, hope and even isolation – something so many people can relate to right now.

With this reflection come some tracks which reminisce of a more youthful Chicane yet still manage to show just how much he has grown over the past twenty years or so too. Such tracks include ‘Never Look Back’ with it’s heavy, Chicane-esque synth line and ‘One Foot In The Past, One Foot In The Future’ – a deep house cut that builds beautifully throughout.

This is an album with no fillers, only epic tracks that each have so much to offer. However, some of the standout songs have to be, ‘Sailing’ featuring vocals from Christopher Cross (Bon Ivor) which is an upbeat house anthem that evolves throughout; ‘Don’t Look Down’, an all-consuming, track of ecstasy that although never fully takes off, has highs and lows in all the right places; ‘Now Or Never’ is a rather commercial offering that begs the listener to get up and dance and ‘An Ocean Apart’ has some seriously soaring vocals that ride atop a juddering synth soundscape.

This is an album of epic proportions that is begging to be played loudly and in it’s entirety.

That’s not to say the rest of the record is not filled with gems; ‘8 (Circle)’ has some moments of pure serenity amid a wonderfully chaotic beat and echoing vocals and ‘Juno’ which is pure Chicane goodness that reminds of a crystal-clear summer’s day.

Possibly one of my favourite tracks on the album is the superbly diverse, closing track, ‘Hello, Goodbye’. It offers space for synths that reverberate through you before kicking into a chest-thumping bass-driven beat. It constantly adapts throughout the 7-and-a-half-minute epic whilst still remaining a euphoric daydream.

There’s a wonderful structure that lies at the heart of Chicane‘s latest album, and that’s that you could be basking in the sun one minute and feeling the call to the dance floor the next.

This is an album of epic proportions that is begging to be played loudly and in it’s entirety. It flows beautifully and wholeheartedly captivates the listener from start to finish.

Another wonderful album by a truly talented producer that leaves the listener fulfilled. It’s definitely one to have on repeat this summer!

Rating
5

‘Everything We Had To Leave Behind’ is out now and can be downloaded from iTunes – https://music.apple.com/gb/album/everything-we-had-to-leave-behind/1553835994

Everything We Had To Leave Behind on Spotify

Everything We Had To Leave Behind (Official Music Video)

Don’t Look Down (Official Music Video)

Hello, Goodbye (Official Music Video)

We hope you’ve enjoyed our review! What do you think of this producer’s latest album? Are you as much of a fan as us? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media.

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#Review: Neck Deep – All Distortions Are Intentional 🍊

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Muzik Speaks Loves Hopeless Records - SmallerNeck Deep are a Welsh pop punk band who initially formed in 2012. They quickly released a couple of EPs in 2012 and 2013 before signing to Hopeless Records in the August of 2013. To date, the band have released 3 studio albums and now 2020 sees the release of their fourth, full-length LP, All Distortions Are Intentional. Here’s what we have to say about it…

Neck Deep - All Distortions Are Intentional.jpg

From the moment this record starts, with opening track, ‘Sonderland’, it’s obvious that Neck Deep have progressed their sound and lyricism, as we’re hearing a more mature band than on previous albums. This could well be their Coming Home to New Found Glory or Lights Out to Sugarcult. The opening track is quite apt for what’s going on in the world right now too with the bridge line, “These strange times that we live in, Will slowly eat you alive if you don’t fit in.” The new Neck Deep continues with the subtle production quirks and repetitive chorus of ‘Fall’ that has one of those classic, clap-along breakdowns.

That said, there are still some obvious pop punk belters throughout the record too, but somehow there’s a more mature take on them. ‘Telling Stories’ is a great example of this (and one of my favourites on the record) and whilst it’s full of those chugging riffs and fast-paced drums, it does as the title says and tells a variety of stories throughout the track. ‘Sick Joke’ is another favourite of mine and a melancholic look at life but it’s catchy as hell – think All Time Low but with an epic guitar solo. Even single, ‘I Revolve (Around You)’ has it’s classic pop punk elements – it starts out like a ballad which compares the love of two people to the stars and planets but it quickly steps up a gear and explodes into a catchy chorus.

What you get with this record is an evolution of the band trying to create something new and exciting for the genre, and it works…really well!

There’s plenty of other great tracks on the record too; ‘Lowlife’ is an anthem for millennials with its chant-along chorus and grungy riffs, ‘When You Know’ is an infectious love song, that’s upbeat appeal demonstrates the band’s musical progression and further maturity is shown on both ‘What Took You So Long?’ and ‘Empty House’, the latter of which starts with a great melodic acoustic guitar before exploding into a gritty, pop punk riff – like something by New Found Glory.

‘Little Dove’ is a real contender for a fan favourite – it’s just begging to be belted out by a crowd at one of the band’s shows, during a quiet moment in the set. Quirky, not-quite-fitting-the-rest-of-the-record track, ‘Quarry’, is an interlude that changes pace of the record for a moment by becoming a little bit dark and emo – it’s a bit of a self-help track defining the “root of it all” being stress. Album closer, ‘Pushing Daisies’, leaves the listener with a positive outlook and a sense to keep pressing on with their life. In light of the world’s current climate (corona virus and black lives matter protests), there is a real sense of hope and strength in lines such as, “Know that I can change the world, And that’s just how it is.” It ends perfectly, with aggression and a series of “Fuck” various things, that an audience will love to scream out in angst.

Hardcore pop punk fans may struggle with this album if they’re looking for a repeat of Life’s Not Out To Get You or even The Pain And The Panic (however the latter began to see some transitions), but what you get with this record is an evolution of the band trying to create something new and exciting for the genre, and it works…really well! That’s not to say pop punk fans won’t love this record; they definitely will! This is an exciting step in their career and shows real progression in their songwriting and lyricism. A great record that will hopefully lead on to great things!

Rating
4.5

‘All Distortions Are Intentional’ is out 24/07/20 and can be downloaded from iTunes – https://music.apple.com/gb/album/all-distortions-are-intentional/1498663190

All Distortions Are Intentional on Spotify

Coming Friday 24th July 2020.

I Revolved (Around You) [Official Music Video]

Fall (Official Music Video)

Lowlife (Official Music Video)

When You Know (Official Music Video)

Sick Joke (Official Music Video)

We hope you’ve enjoyed our review! What do you think of the band’s latest album? Are you as much of a fan as us? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media.

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#Review: Oliver Tree – Ugly Is Beautiful

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Muzik Speaks Loves Atlantic Records - SmallerOliver Tree is one of those artists it’s hard to define. Whilst there are some who insist that he is nothing more than an internet meme, his artistry is undeniable and there’s something instantly captivating about him. Having released a heap of singles since signing to Atlantic Records in 2017, it’s only now, in 2020, we’re seeing the release of his debut album, Ugly Is Beautiful. Here’s what we have to say about it…

Oliver Tree - Ugly Is Beautiful.png

Ugly Is Beautiful is the first full-length release from Oliver Tree, who announced his early retirement in March 2020 – only to return in May with the announcement of his debut record, after a hacker held Oliver hostage in exchange for 1 million Instagram likes (which he logged in under 24 hours).

Having already been delayed twice (once due to Covid-19 and once due to the George Floyd and anti-racism protests), this highly-anticipated debut album proves to be worth the wait. Whilst his appearance, to some, is outlandish, this internet personality, musician and filmmaker has made a genre-defying record if ever there was one. Right from the off, Oliver Tree makes his way through a wide variety of genres, from alternative indie rock to hip hop and pop punk to electronic with a great sense of conviction that is nothing short of highly infectious.

One thing that is incredibly impressive about Tree, throughout the album, is his ability to ensure the listener doesn’t take any one moment too seriously or equally to pass it off as a joke either, using lyrical whit to guide the way. One such track is ‘Joke’s On You!’ where Tree makes his feelings known in the line, “Well yes in fact, my dignity’s intact, while I listen to ‘em laugh,” – here he is obviously making light of the fact that people often see him as a joke yet he’s made something of himself and maintained his dignity in doing so.

There is definitely a sense of nostalgia about Ugly Is Beautiful.

One of my favourite tracks has to be the distortion-heavy, electronic-laiden ‘1993’ (featuring Little Ricky ZR3), which was an instant favourite for me as it sort of epitomises much of the album. He uses tasteful electronic elements alongside intentional distortion giving it a real grungy, edgy feel – like much of the record. ‘Again & Again’ is another track that uses those gritty, distorted vocal effects but it equally has a certain radio-like quality to it, due to its indie-rock vibes.

There is definitely a sense of nostalgia throughout Ugly Is Beautiful too with tracks like ‘Jerk’ reminiscing of a down-tempo Nirvana song, ‘Bury Me Alive’ with its quick-fire delivery, like that of a Beastie Boys track or the David Bowie-esque qualities of ‘Miracle Man’.

However, the only time Tree feels truly familiar is on his previously-released singles, ‘Let Me Down’, ‘Alien Boy’ and ‘Hurt’, whilst the rest of the record feels new, exciting and refreshingly undefinable. This is a vision that is truly unique and entirely his – this is less an act and more of a glimour into the world of Tree, through his eyes.

Although Tree insists this is his “magnum opus” and that he is to retire from music and focus on film-making and producing instead, his label (Atlantic Records) say, “Ugly Is Beautiful is only the beginning. Stay tuned for more from Oliver Tree.” So I guess we will just have to wait and see! Either way, it would be a real shame if this were to be all we hear from him again.

Rating
4

‘Ugly Is Beautiful’ is out now and can be downloaded from iTunes – https://music.apple.com/gb/album/ugly-is-beautiful/1514394064

Ugly Is Beautiful on Spotify

Hurt (Official Music Video)

Let Me Down (Official Music Video)

Bury Me Alive (Official Unofficial Music Video)

We hope you’ve enjoyed our review! What do you think of Oliver Tree’s debut album? Are you as much of a fan as us? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media.

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#Review: The Chicks – Gaslighter

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Dixie Chicks are a well known country pop band comprised of singer Natalie Maines and multi-instrumentalist sisters Martie Erwin Maguire and Emily Strayer. The group initially formed in 1989 , in Dallas, Texas and have, to date, released 7 studio albums. Now, 2020 sees the band release their eighth record and their first album in 14 years, Gaslighter. It is also the first record to be released under the new name, The Chicks, following the George Floyd protests. Here’s what we have to say about it…

The Chicks - Gaslighter.jpg

The album launches with title track, ‘Gaslighter’, a no holds barred anthem about the breakdown of Maines’ relationship and ultimate divorce. In fact, this particular topic provides a lot of material for the album – it was originally slated to be a simple record of covers in order to fulfill their contract with Sony, but following her divorce, she was inspired to start songwriting again.

‘Tights On My Boat’ is another one of those tell-all tracks detailing an affair her ex-husband had, with a lover, on the couple’s boat, on which she discovered a tell-tale pair of tights. The track (along with a couple of others) is written with pop songwriter and artist, Julia Michaels. Additionally, the trio collaborated heavily with Taylor Swift‘s 1989 producer, Jack Antonoff, seeing him take production credits for the record and some songwriting credits too.

This album certainly doesn’t disappoint when it comes to personal or political songwriting. ‘March March’ takes a look at issues of gun control, climate change and underfunded education and puts them through a contemporary bluegrass lens. Whilst ‘Set Me Free’ is all about Maines looking to be released from her marriage.

It’s an exciting pop take on a country record that is likely to reignite fans’ passions for the band and pick up a whole host of new ones along the way too.

Possibly some of the best tracks on the album come in the form of ‘Sleep At Night’, a banjo-led candid look at her ex-husband’s affair; ‘Texas Man’ with its upbeat rhythm combined with rousing lyrics and the captivating vocal riffs of ‘Young Man’.

Possibly my favourite track on the record has to be ‘Julianna Calm Down’ – it builds beautifully throughout with a really catchy, contemporary pop edge to it. Whilst ‘My Best Friend’s Wedding’ has some wonderful vocal harmonies and a sense of honesty about reflecting on how Maines met her ex-husband.

The Chicks may have changed their name and their new music may well have a certain degree of poppiness that die-hard country fans could cringe at, but this is exactly the evolution you would expect from the band’s last album back in 2006, to where they are today. It’s an exciting pop take on a country record that is likely to reignite fans’ passions for the band and pick up a whole host of new ones along the way too.

Rating
4

‘Gaslighter’ is out now and can be downloaded from iTunes – https://music.apple.com/gb/album/gaslighter/1499733036

Gaslighter on Spotify

Gaslighter (Official Video)

Sleep At Night (Official Video)

March March (Official Lyric Video)

Julianna Calm Down (Official Lyric Video)

We hope you’ve enjoyed our review! What do you think of the band’s eighth studio album? Are you as much of a fan as us? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media.

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#Review: Paul Weller – On Sunset 🌅

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Paul Weller is an English singer-songwriter and musician, who first achieved fame as part of the band, The Jam between 1972 and 1982. It was then until 1989 that he was part of the blue-eyed soul group,  The Style Council, before establishing himself as a solo artist in 1991. Since 1992, the artist has released a whole string of albums, with 2020’s latest record, On Sunset, being his fifteenth studio album. Here’s what we have to say about it…

Paul Weller - On Sunset.jpg

Paul Weller has a career spanning more than four-and-a-half decades and it can only be admired just how active and contemporary he still remains at 62 years old.

Right from the opening moments of ‘Mirror Ball’; a seven-and-a-half minute epic that starts out with ethereal synths before breaking into a vast soundscape of overdriven guitars and juddering synths married with melodic pop elements, some distorted vocals and even some crowd applause thrown in; it’s clear that this is going to be an exciting record.

This rather avante-garde opener is quickly followed by ‘Baptiste’ – a rather safe, summery, soulful number that has become a familiar sound for the songwriter.

However the experimentalism of this record is once again demonstrated on tracks like ‘More’ – an extended, progressive soulful track that features female French vocals; the almost psychedelic title track, ‘On Sunset’; or on the very synth-driven and rather trippy ‘Earth Beat’, that seems to ever build, beautifully.

This is something of a captivating collection of contemporary songs.

It’s clear that there is a whole load of inspiration on this record – from rock to soul and folk to funk – this is something of a captivating collection of contemporary songs. Weller‘s vocals are sublime too – he has both smoothness and raspiness in all the right places.

There’s definitely a sense of reflection and revisiting sounds too – ‘Village’ is a beautiful number that soars and leaves a sense of nostalgia on the listener, whilst tracks like ‘Rockets’ and ‘Equanimity’ have a strong sense of early David Bowie and The Kinks (respectively), emanating a certain relaxed, contemporary appeal too.

‘Old Father Tyme’ can’t go unmentioned either – its fading in and out of a drum machine with funky guitars, brass notes and echoing vocals make it one of the focal points of the album.

The songs are so well-written and focus on central themes of contentment and growing into oneself. You would have a hard time debating that this album doesn’t work as collective body, despite all the fluctuating influences and whilst it feels like there could be more experimental sounds to come from him, Paul Weller should be proud of his fifteenth release.

Rating
4

‘On Sunset’ is out now and can be downloaded from iTunes – https://music.apple.com/gb/album/on-sunset-deluxe/1503362089

On Sunset on Spotify

Earth Beat (Lyric Video)

Village (Lyric Video)

More (Lyric Video)

We hope you’ve enjoyed our review! What do you think of this singer-songwriter’s fifteenth studio album? What would you rate it? Please leave your thoughts in a comment or via our social media.

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#Review: RAC – BOY 🔴

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RAC (aka André Allen Anjos) is a Portland-based, Portuguese-American Grammy Award-winning songwriter, musician and record producer. To date, he has released a couple of studio albums and already had a career spanning 10 years. Now, 2020 marks the release of his third album, BOY, featuring a wealth of guest talent. Here’s what we have to say about it…

RAC - BOY.jpg

BOY is best described by Anjos himself, who pushed his artistic limits by navigating his way through his complex childhood. “This album is about growing up,” writes Anjos. “I was tapping into melodies that remind me of that period of my life. Rooted in a sense of nostalgia, growing pains and coming of age. It’s an elusive feeling but I tried to capture it and ultimately re-interpret it through a modern lens.”

This nostalgia is evident throughout the album, with a series of 80s synths and funky guitar vibes to bring together this collective body of work, whilst still maintaining a contemporary edge to it. Plus, the wealth of guest talent across the album is a testament to RAC’s creative magnetism. “It’s conversational,” he says of his working style with the artists he features. “We find shared experiences and I give them space to tell their story through my lens.”

Whether it’s the bittersweet melodic ‘Boomerang’ (featuring Luna Shadows); the guitar-heavy ‘MIA’ with captivating vocals from Danny Dwyer or the sweet-sounding ‘Oakland’ (featuring Winnetka Bowling League) about leaving someone behind to start somewhere new, there is something for everyone on this rather summery record.

[RAC has] created a wonderful collection of contemporary pop songs that are beautifully understated yet superbly powerful!

Standout tracks would have to be: ‘Passion’ (featuring Louis The Child) for its light, funkiness, vibing along the lines of Foster The People or Two Door Cinema Club; ‘Together’ (featuring Evalyn) which is not only a catchy tropical house-like track but the beat almost double-times part way through, making it quite different; and ‘Sweater’ (featuring Maddie Jay) – a straight-up funk track with great guitar melodies that run alongside the vocals yet both give each other space to play in the gaps between them.

That’s not to forget the previously-released singles from the record: ‘Carefree’ (featuring LeyeT) that has crisp, sometimes fast-paces vocals and simplistic production melodies that make it really stand out; ‘Stuck On You’ (featuring Phil Good) with rap-esque verse vocals and a clearly catchy chorus; and ‘Change The Story’ (featuring Jamie Lidell) – a very bass-heavy track with horns and a David Bowie meets Prince vocal to top it off.

The album has a couple of fillers that could easily have been left off, ‘Next To You’ (featuring Emerson Leif) is fairly mumble sung whilst ‘Solo’ (featuring Gothic Tropic) is chaotic in places and not the best track on the album, by far. ‘Better Days’ (featuring St. Lucia) is a little disappointing too – it’s a strong 80s power ballad and though the blend of male and female vocals is nice, St. Lucia is not featured much.

The album is stitched together by a series of musical intros and interludes all around off-key sorts of melodies with nonsensical vocals. ‘Gomas’ is very much 80s meets Game Boy, whilst ‘Dolores Park’ is probably the most beautiful of them all.

It’s easy to see how this producer has taken the theme of growing up and collaborated with others to tell his story with a deep sense of nostalgia, creating a wonderful collection of contemporary pop songs that are beautifully understated yet superbly powerful! It’ll be interesting to see where RAC takes his next album – will it be as thematic or something different?

Rating
4

‘BOY’ is out now and can be downloaded from Apple Music – https://music.apple.com/gb/album/boy/1500009251

BOY on Spotify

Stuck On You featuring Phil Good (Music Video)

Carefree featuring LeyeT (Music Video)

We hope you’ve enjoyed our review! What do you think of this songwriter and producer’s latest album? Are you as much of a fan as us? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media.

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#Review: Klingande – The Album

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Klingande started out as a production duo back in 2012, releasing a couple of notable tracks. However, following the departure of one half of the pair in 2014, Cédric Steinmyller chose to continue using the moniker, as a solo venture. Since then and with a string of singles and remixes under his belt, the French DJ and tropical house producer, is now releasing his debut album, The Album. Here’s what we have to say about it…

Klingande - The Album

Klingande‘s aptly-titled debut album, The Album, sees the producer putting out a double-disc record. The first of which is a body of work that sounds sonically polished and wonderfully well collected together, whilst the second disc is more a collection of the producer’s previous hits and well-known tracks.

The first disc is definitely an album that has been inspired by the likes of the late Avicii, blending real instruments with electronic elements. It would appear that there are other influences being played with too, with a real sense of the Deep South of America interwoven throughout – such as ‘Sinner’ (featuring Stevie Appleton) with country-style acoustic guitars in the verses and bluesy guitar riffs in the chorus. Or ‘By The River’ that has slick guitars and features the raspy yet soulful vocals from Jamie N Commons. Even a harmonica finds its way onto the album (courtesy of French harmonica player, Greg Zlap) on the refreshing and rather frantic, surefire fan-favourite, ‘Ready For Love’ (also featuring vocals from UK singer-songwriter, Joe Killington).

The album opens with his latest single, ‘Amsterdam’ (the first of two collaborations with pop duo BRIGHT SPARKS) an acoustic-led, mellow dance track with a heavy underlying bass which sounds almost separate to the rest of the track, in a really interesting way. The second collaboration with BRIGHT SPARKS is previous single, ‘Messiah’ a subtle yet very catchy track, with some interesting fills, like a great dubstep-style wob-wob, leading into the final chorus.

‘Simple Man’ has some beautiful, distant gospel backing vocals, topped off with a deep lead vocal. This track is definitely a nod to his older sound, as it’s very saxophone led. Meanwhile, ‘Famous’ is quite different in tone to the rest of the album, particularly as it’s the first track on The Album to feature a female vocal.

The Album is a wonderful collection of songs that bring about an interesting new depth to dance music, making it stand out from a lot of other EDM.

Besides ‘Ready For Love’ (a personal favourite!), the final two tracks are possibly the best ones on the record. ‘Alive’ is a very positive track about things you won’t allow to get to you or defeat you and whilst the lyrics are not necessarily the deepest or most well-written, it’s catchy as hell and the message is great! Equally, closing track, ‘Only Breath’ (and the second to feature an unknown female vocal) is an airy and atmospheric song, with a synth rhythm that is pure euphoria – a wonderful track in spite of the inevitable dance drop.

The second half of The Album serves as more of a greatest hits, collating a bunch of Klingande‘s previous releases from the past few years – a time when he was more recognised for his prominent piano and saxophone use.

Whilst reviewing The Album, I chose to focus my attention mainly on the first half of the record, due to it being a more comprehensive collection of songs, however what the second half does do, is bring most of his previous releases together in one place and showcase just what growth this artist has been through, whilst the first half marks a new chapter in his career.

The Album is a wonderful collection of songs that bring about an interesting new depth to dance music, making it stand out from a lot of other EDM, but at its core, still uses tried, tested and much-loved dance sensibilities. This is a record that will be enjoyed by people of all ages and could quite easily be the perfect party companion. Given the growth demonstrated on this record, it’ll be interesting to see what direction Klingande goes in next!

Rating
4

‘The Album’ is out now and can be downloaded from iTunes – https://music.apple.com/gb/album/the-album/1484567866

The Album on Spotify

Amsterdam featuring Bright Sparks (Official Lyric Video)

Messiah featuring Bright Sparks (Official Video)

By The River featuring Jamie N Commons (Official Video)

Jubel (Official Video)

We hope you’ve enjoyed our review! What do you think of the producer’s debut album? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media and feel free to share our review.

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#Review: Mallory Knox – Mallory Knox

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Mallory Knox are an alternative rock band from Cambridge and began as a five-piece back in 2009. Following the release of their third album, Wired, news came that lead vocalist, Mikey Chapman, was leaving the band in 2018. With co-lead vocalist, Sam Douglas, taking up the post of lead vocals, alongside the other three original band members; James Gillett (rhythm guitar & backing vocals), Joe Savins (lead guitar & backing vocals) and Dave Rawling (drums), the band are back with their self-titled fourth album (Mallory Knox) as a four-piece. Here’s what we have to say about it…

Mallory Knox - Mallory Knox.jpg

It was a brave choice for Sam Douglas to step into the position of lead vocals, as vocally he is quite different to Mikey Chapman, but he’s certainly come in all guns blazing on lead track, ‘Psycho Killer’ – a massive, garage rock sounding track with a hint of Foo Fighters about the vocals throughout, before careening into a heavy guitar breakdown at the end.

This is certainly a more raw and gritty album than some of their previous releases, with tracks like ‘The World I Know’ taking sonic influences from noughties punk rock and adding in grungy elements and ‘Wherever’ with its muscle guitars and intense drums, giving the illusion of travelling at speed.

Lead single, ‘White Lies‘, has a bit more of an indie feel to it than a lot of the rest of the record and is clear to see why it was chosen to launch the album.

Also, ‘4’ is quite commercial with its “Na, na, nas” and lyrics about vacuous pop market and record labels, such as, “You never mattered anyway.” Is it addressing negativity they have faced and the fact they band went from 5 members to 4, as the track title might suggest? Not sure. You’ll have to make up your own mind on that.

Possibly some the best tracks on the album are: ‘Livewire’ which has changes in pace throughout and echoing breakdowns to really get the listener going; ‘Freaks’ has some really interesting melodies with guitar frills, captivating (and sometimes aggressive) vocal acrobatics (with some serious power behind them) and a great all-round tone to it and ‘Black Holes’ with its chugging guitars and yet more, distinctly Foo Fighters vibes in the intense, shouty chorus.

It’s a risk to continue as a four-piece, with someone new taking up the role of lead vocalist, but it appears to have paid off.

By far, the best track on the album is ‘Gut’ – it’s an intense, fast-paced close to the album, with some insane vocal harmonies, brilliant drums and fast guitars – it’s a generally chaotic moment of ecstatic mosh-out madness that fans are sure to love live.

There are definitely moments when you can tell Douglas doesn’t quite have the power behind his voice that he might have liked and even one track (‘Heartbreak Lover’) that feels like his vocal is lacking in energy – albeit it’s a very commercial-sounding track with a guitar line that plays around the same melody as the chorus.

Additionally, there are the odd places here and there that lyrically feel a bit flat and not quite written with as much depth or maturity as perhaps you might like (‘Fine Lines’ with its candid take on a relationship breakdown) and other tracks, such as ‘Radio’ that are a little forgettable but overall, it’s a solid effort from the now quartet.

It’s been a risk to continue as a four-piece, with someone new taking up the role of lead vocalist, but it appears to have paid off. The album is consistently confident in its approach and hopefully with have old fans excited and on board for the ride as well as pick up new fans with their edgier sound.

Rating

‘Mallory Knox’ is out 16/08/19 and can be downloaded from iTunes – https://music.apple.com/gb/album/mallory-knox/1461295820

Mallory Knox on Spotify

White Lies (Official Music Video)

Livewire (Official Music Video)

We hope you’ve enjoyed our review! What do you think of the band’s fourth album? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media.

Enjoyed this? Check out some of our other reviews here:

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