It has been five years since Grimes last album ‘Art Angels’ which she is not so fond of any more, which is surprising to fans who are still are. They believe then that her next piece of work is going to be out of this world. The new album contains many synth swirls, trip-hop elements, and 90’s pop mixed with modern-day chart music. The lyrics and themes speak of self-awareness and understanding the way things are.
Whether you get the title to this post or not, This is Spinal Tap seems like a logical place to start for a list of must-watch films for us music lovers! This is Spinal Tapis a ‘rockumentary’ documenting the lives, gigs and tribulations of parody metal group ‘Spinal Tap’. Full of music, hilarity, stereotypes and bad hairdos, This is Spinal Tap is one of the best films of all time, let alone musical time. Ston’enge!
24 Hour Party People
To see Steve Coogan play anyone but Alan Partridge is always gonna be tricky to get your head around, but his persuasiveness in playing Tony Wilson of the legendary Haçienda almost rids him of his Partridge-ity. 24 Hour Party People is a stark, humorous and insightful look into the Madchester music scene of the 1990s, led by Tony Wilson. Focussing mainly on groups such as Joy Division and The Happy Mondays, this film allows us to experience two bluntly different yet interconnected sides of Factory Records. This film is a must purely for Mark E. Smith’s cameo. Rest in peace, sir.
The song begins with sounds of a car starting up inside, immediately creating an intimate setting – we may as well be sat in the passenger seat. The lyrics describe that first, devastating heartbreak, with Rodrigo questioning “how could I ever love someone else?” and comparing herself to her ex’s new partner – “she’s everything I’m insecure about”.
The self-taught producer says he writes and produces his music based on real-life experiences. His new EP is both thrilling and exciting with the nostalgic feels of the ’80s and 90’s British punk rock scene. Extremely distorted sounds and panning echoes from left to right are sounds that are familiar to some yet completely new to others depending on the generation listening.
The song is a mostly instrumental number filled with a heady mix of sound and feeling. The instrumental filled number has a relaxed and chilled out feel due to the acoustic sound and it also leaves the listener with a transcendent and other worldly musical experience
In terms of lyrics there isn’t a large amount in the song with only two verses; but the vocals that Mead does provide are an extra bonus that helps elevate the song to an extra level.
Her voice has a somewhat hypnotic quality to it that lulls the reader into a state of total serenity and peace.
There’s a new band on the scene, they’re called Inhaler, and they’re pretty damn awesome.
Inhaler found its beginnings in 2012 in the halls of St Andrews College in Blackrock, Dublin in 2012. At this point the band consisted of Elijah Hewson (son of the U2 frontman, Bono and frontman of the band), Robert Keating (bassist) and Ryan McMahon (drummer). The fourth and final member Josh Jenkinson (guitarist) joined the band shortly after the name Inhaler was decided upon in 2015.
The five-piece who take influence from the likes of Biffy Clyro, Muse and Iron Maiden are not shy of producing their own incredible guitar solos which features on the track. The single touches on the idea of maturing from adolescence to adulthood, the kind of care-free attitude which consists of drinking with friends and falling in love for the first time which sounds all too familiar to some of us. It also touches on detaching yourself from the place you grew up and the struggles that follow whilst feeling that you’re leaving everything and everyone from the past behind you.
Maud immerses you into a dream world of Electric pop with elements from trap and urban. With lyrics echoing night time thoughts quite sinister and mysterious.
‘Baby Girl’ explores the anxieties of growth, adulthood and ultimately the struggle in finding a sense of home again once you’ve moved away from your childhood roots.
Fans of 5SOS have always longed for more vocals from Irwin and through the bands progression he began to feature vocally on songs through the years; but now fans have been given a full album of just Irwin’s solo vocals and his own personal sound experience.
The album opens with the song Scar which opens with an almost angelic electronic harp sound before beginning with the lyric ‘got me wishing God would show me the way, show me heaven maybe just for a day’ which further enhances the angelic and almost spiritual opening sound. The song itself is a focus of the vocals and accompanying drums which feels like a fitting introduction to Irwin’s debut solo project with the focus on the drums being what Irwin is known best for, and then the vocal focus to show that drums are not his only talent and to open the listeners mind and prepare them for the album.
The album is a bold statement piece; inspired by 70’s English punk bands and a hint of late ’80s and early 90’s rock. The album mixes and matches with modern-day rock but also unusually contains elements of garage. False Heads perfectly restore all of these sounds from across the ages of music culture for the younger generation to experience for themselves.
The album is not the just the regular rock album you might expect. if you can read between the lines, the songs can go into depth with hardships, distress suffering and addiction, with a slight faith and optimism which manages to keep listeners on their toes.
Courtney grew up in Houston, TX and is currently a fourth year student at the University of
Virginia, studying computer science. She started performing with her rock band, Silver Retriever, in 2019, and began releasing pop music in the summer of 2020. For Courtney, music is a way to unleash her creativity in an industry that often values logic and rigidity over freeflowing expression.
Her new single ‘Miracle’ dropped this weekend. It’s a powerful, emotional song with a heavy drop that showcases the stronger side of Courtney's normally hazy voice.
I had the opportunity to sit down with Courtney over zoom to talk about her upcoming projects, musical journey, imposter syndrome and guitar challenges. Read what she had to say below:
Q: So you’ve released the bulk of your solo music during a national pandemic, how have you found that process?
A: It’s actually been a kind of a blessing for me. I was making music with a rock band called Silver Retriever and we released an EP in May, it was supposed to come out in March and we were going to have this huge release party that just didn’t work out. Everyone else was leaving the area so it was just me and I thought “you know I think I can do this by myself” so I tried out making a couple songs and I just fell in love with the process of working with a producer. My band was me and five guys so I didn’t have to wrangle five guys to go and do anything, it was just me and maybe one other person so it’s really been a rewarding process.
‘Best Friend’ is a sneak peek into Saweetie’s upcoming new album ‘Pretty Bitch Music’ which is due in 2021. Saweetie lets her fans know that the album title came from her skill for making people feel empowered. She is keen for fans to be aware that ‘bitch’ is in no way negative. For her it means that you are strong, hustling hard, independent and lifting others up. ‘Best Friend’ follows her recent track with Jhene Aiko titled ‘Back to the Streets’ which was co-produced by Timbaland who delivered some old school vibes.
Small Forward -the band that is- began as college buddies Michael Stevenson and Rounak Maiti jamming in-between -and probably- during their studies. Campbell Scott, a college contemporary, later joined the band alongside Nick Waldram; however, the latter left before composition of the band’s self-titled debut album released in May of this year.
Frequently referred to as Bowie’s transitional album, Station to Station is a masterful expression of existential unease and yearning for meaning. Serving as a vehicle for Bowie’s most unjoyful persona, The Thin White Duke, it is pre-emptive of The Berlin Trilogy’s colder, more industrial sound. As Bowie flees the cloying pleasures of LA, he takes a train towards Europe and Germany, arriving at the turbulent time of the German Autumn and into an atmosphere of great spiritual malaise.
Numbed by his colossal use of cocaine, the disembodying experience of The Man Who Fell to Earth and his solipsistic existence in America, Bowie embarks on a journey of self-exploration, both earthly and spiritual. Station to Station presents to us the dichotomy of Bowie’s very being, the tension between his incredible creativity and his spiritual dissatisfaction, and captures the moment this tension turns into art...
Anyone who has been through the ringer, whether it’s through a personal tragedy or a devastating day at work, can respect this song’s resonating power. The ambiguity of the music is what makes it a truly accessible record. Movin’ deliberately shifts away from the dreary pining after lost love and can be applied to any situation, although it seems especially poignant during this time of stillness and uncertainty more than most.
‘Never Let You Go’ is the most notable single from Georgia’s sophomore album, scoring a number of syncs. Despite not charting on the UK Singles Chart, the song is still a wildly popular hit; due to its catchy bassline, arpeggiated synths and four to the floor beat that make it an instant dance classic. One section of note is the second verse when a synthetic choir is brought in for backing vocals. Without it, the track could easily be from a video-game soundtrack, however the choir gives it an interesting depth that almost haunts the lead vocal.
‘Sixteen Oceans’ proved to be a saving grace during the mass lockdown, providing peace and much needed clarity at a time of extreme uncertainty.
Before beginning on the album review, it is important to look at what DJ, Producer, and underground legend Kieran Hebden (Four Tet) has been busy doing.
Four Tet has been especially busy during the lockdown period, recording an incredible isolated Boiler Room session from a remote cabin in the woods, to releasing tracks that many have been demanding for years, and most recently doing a live set for BBC Radio 1′s weekend of Dance music.
The mellow introductory notes and folk-like guitar open a window into the mind of Juno, creating a warm, open feel, and taking the listener to an enchanted forest of the mind. This tone of serenity maintains throughout the song, depicting the place of love that Juno has found in herself, and though the journey of growth has been a tough one, in the opening line, she sings ‘I don’t need anyone to hold me’, very much establishing the atmosphere of the song.
So before getting to listen to the album I had the chance to ask McGregor some questions about ‘Kid in the Corner’ and they were kind enough to give us a little insight into what it took to make this album. So without further ado, let’s dive right in shall we?
Liverpool 1956, we were first introduced to the skiffle/rock and roll group, The Quarrymen, taking their name from the group members school, Quarry Bank High School. The group was originally formed by John Lennon. July 1957, Paul McCartney was introduced to the group later joining in October of that year. The Quarrymen would then invite two new members in George Harrison and Stuart Sutcliffe. After the Quarrymen split leaving 3 of their members John Lennon, Paul McCartney, George Harrison and Stuart Sutcliffe. to form a new band, The Beatles. In August of 1960, the band asks their now former drummer Pete Best to join the group. They were building their reputation on playing clubs in Liverpool and Hamburg. In 1961, Sutcliffe left the band with McCartney replacing him on bass. Pete Best would then be replaced by Ringo Starr a year later. The band still stuck with the same name.
Taking mainstream pop by storm, King Princess found recognition in 2018 for her singles ‘1950’ and ‘Talia’, and was awarded Pop Breakout Artist of the Year by Vivid Seats. Only a year later, at 20, Cheap Queen was released.
An icon in the LGBTQ+ community, the title of the album, Cheap Queen, refers to the drag community. Like her previous work, the album is a lot of love songs. Her work manages to resist clichés, as it covers aspects of queer love not represented in much of mainstream pop.
JC is not an entirely new face in the music industry. He played in pubs for years and has been on tour with artists like Kodaline, Freya Ridings, Anne-Marie, Snow Patrol, Lewis Capaldi and James Bay. He is known for being a stunning songwriter and he co-wrote Lewis Capaldi’s track “Hollywood” from the singer's successful album “Divinely Uninspired To A Hellish Extent”.
While having written a lot of emotional heartache ballads, “Break My Heart” is the first 'faster' pop-song he has released. The electric-guitar-based song captivates with fresh alt-pop energy, catchy hooks and JC’s distinctive powerful and emotional vocals, which will probably remind you of Sam Fender or Lewis Capaldi.
“Our words are worth their weight in gold” opens the song and there couldn't be a more apt phrase that sets the tone for politics ’20/’21; listen further, however, and this song lends itself to a stock of songs on broken relationships and the haunting of loves lost. But this track is anything but downbeat- and it could be why I’ve had it on repeat all evening.
The Lathums have taken a different turn than their usual style with something a little faster, shorter, quirkier even. Dare I call it charming?
On this album the band really experimented with old sounds like synthesisers to create a cool vintage sound which you can hear on their single 100,000 people.
The Bandit and 100,000 People are the first two tracks to be released from their upcoming album, When you see yourself, due to be released this March. This will be the bands eighth studio album and their first full length release in five years - their last release being WALLS which was released in 2016.
Record Label: Underdog via AWAL
Rating: 3 / 5
Surrey alt-rock group You Me At Six are back with their seventh album SUKAPUNCH. The 11-track LP sees a dramatic genre change for the 5 piece. Back in 2018, we began to see a shift in genre with the sixth album VI which saw elements of indie pop from ‘Back Again’ and ‘I O U’. This time, SUKAPUNCH brings so much more to new music and is their most expressive album yet.
‘We Fell In Love In October’ a 2018 single from Norwegian DIY star Girl In Red (real name: Marie Ulven), has long been a streaming success, having racked up over 126 million global plays on Spotify alone. However this is not the only achievement of this track, which has seen a distinct and consistent rise in on-demand streams since the calendar turned to its title month.
This limited edition /We Fell in Love in October/ vinyl is the first physical embodiment of the song. It marks the 2 year anniversary and contains the original demo as its b-side.
“Smoking cigarettes on the roof . You look so pretty and I love this view”
If you have previously listened to Will’s debut album which featured a combination of chill, pleasant and exciting sounds of teenage lives; this time around, Cook’s new album shows you a grown-up indie pop singer’s way of figuring life’s difficulties out.
Something To Feel Good About tracklist:
‘We Gotta Talk’ looks into relationships that have gotten complicated, the opening lyric “should I be missing you” sets the tone for the whole song. It places the listener in a mindset of being honest with one’s self if they are in this situation.
In an interview with the artist, she stated: “there is a certain strength I wanted to capture that comes from realizing that and asking those questions”. The lyrics in this song are also able to capture the emotions of being disconsolate in a relationship. Liyathatgirl also told me that the song represents choice you can make in an unhappy relationship and it’s all about having that conversation. “It’s better to have that tough conversation and be happy at the end of the day than go on without confronting it”.
Through her music and visuals, she manages to create the stories and feelings to vividly to take listeners on emotional journeys. Lana is recognised for her considered and original ideas which can seem wild, yet courageous. Her art can be breathtaking, and admirable, from the music itself, through to her image and art direction.
In a slightly different move, Lana Del Rey has now just released a limited vinyl edition of Liverpool FC’s anthem ‘’You’ll Never Walk Alone’’ cover by giving it her classic twist. All profit is going straight to The Liverpool FC foundation charity. The song was originally in Rodgers & Hammerstein musical carousel, and in 1963 Gerry and the Pacemakers covered the song. It became the well-known crowd anthem of the Premier League champions.
But what else can be said about such a versatile multi-instrumentalist and incomparably prolific songwriter? And yet, McCartney does not rest on his laurels once in the forty minute plus runtime of McCartney III, the next (and possibly final) entry in a trilogy of homemade albums in which the Liverpudlian plays all of the instruments. The playfulness, excitement and infectious boyish energy that permeates through all his work (from Wings to that other impermeable band that I will try not to overemphasize) is still ever present on this 2020 album.
The Lathums have been making quite a bit of noise in recent times what with the NME, The Guardian and The BBC each having their own dedicated article and interview with the band. For newbies this is incredible progress which is in and of itself a demonstration of how exciting this band is, let alone the music they create. They have this fiery passion and dedication to them with frontman Alex Moore even saying to Apple Music: “Every generation had that defining band and we want to be that for this generation”.
Which are bold words for somewhat newcomers.
To sum up ‘Honey Bee’ in just one word, it would be “mesmerising”. Bethy’s soft, Eilish-esque vocal drifts over a beautifully arpeggiated guitar melody, drawing the listener in to a pink dreamscape from the very first line. Bethy laments, “my honey bee, like the seasons change we can’t remain the same”. Her voice drips with honey, all sweetness without being sickly, demanding that the listener stop what they’re doing and listen.
Fiona claims she feels more comfortable and in her element alone. It gives her freedom and space. Even though Fiona would like to ‘jam with other musicians’ it’s just something she hasn’t been able to get used to yet. Fiona relates to her voice as another instrument, claiming the best way is to just go with the flow. At the same time, singing makes her less overwhelmed and relaxed with her tone of singing.
