Tag: Albums

Some albums I’ve listened to that I have really enjoyed

Down In A Hole by Kiefer Sutherland

I don’t normally keep an eye on country music album releases, but when I heard that Kiefer Sutherland had an upcoming album, I got excited to say the least.

After getting over the fact that Jack Bauer was singing to me, and actually listened to the music itself, I found that I was really enjoying it on its own merits. The is a great, solid country album with a tonne of variety.

Track by Track… Bauer

I’m sorry, I really couldn’t help the bad pun there.

“Down In A Hole” kicks off with the overdrive-guitar sound of “Can’t Stay Away”. It’s a solid introduction to the album with some lovely female backing vocals too.

“Truth in your eyes” is the next song, and is just as solid as the previous. It deals with the theme of lost love, but approaches it with an upbeat tempo and delivery.

The first single to be released off of this album, “Not Enough Whiskey”, is the fourth song. Aside from my huge man-crush on Kiefer Sutherland, this song was a big reason why I was excited for this album. It encapsulates most of what I thought a lot of country music dealt with – lament for a lost loved one.

I really like the guitar work on the album too. “All She Wrote” is a thumping, guitar-chugger that takes its time to build itself up, being the album’s longest song at just under five minutes. I love turning this up to full. Another great example of guitar work is “Going Home”, which has a great solo towards the end. This solo really stuck out to me on the first listen.

On one hand, as the album does have some absolute belters, it also has the beautiful “Calling Out Your Name”. It’s a light acoustic number with some light accompanying waa waa, and does well to showcase Kiefer’s abilities as a singer.

Headphones on, Jack in

Before I started branching my musical tastes out, I had two perceptions of what country music was. The first idea I had was a hillbilly style, the other was the stories of jilted lovers who had been driven to drink and depression. Recently, however, I have learnt to appreciate more of the nuances of country music, and “Down In A Hole” explores a variety of them.

I highly recommend sticking some headphones on, cranking it up to eleven, and rocking out. I think my fellow commuters may want to kill me though… Damn it.

The Bride by Bat For Lashes

On June the 25th, 2008 I went with some friends of mine to watch Radiohead play in Victoria Park in London. The were touring in support of their album “In Rainbows”, and in support of them was a then little-known artist called Bat for Lashes.

It is a huge regret of mine now that I didn’t pay more attention to her during her set. At the time I think she was still yet to release her first full-length album so in retrospect this seems to have been a really special show.

Since that day I have re-discovered her through her first two albums, “Fur and Gold” and “Two Suns”, and then her following album “The Haunted Man”. But it is her latest offering, the recently released “The Bride”, that I am now writing about.

Dark Hymns

The songs on this gorgeous album feel like dark hymns – dark and beautiful. They mesmerized me from the get go and I don’t think they’ll be letting go any time soon.

When singing, her voice reminds me of the late Sandy Denny; while in the spoken poem “Widow’s Peak”, she sparks memories of one of Nico’s first albums. These attributes of her’s plant her firmly in a position that is highly unique in today’s popular music scene.

More than a concept album

Indeed this is a concept album. Taken from wikipedia:

According to The Bride’s press release, the work is a concept album that follows the story of a woman, whose fiancé dies in a car crash on the way to their wedding. The album follows her as she decides to go on the honeymoon alone and her emotions as she deals with the tragedy.[5] Khan commented “the trauma and the grief from the death of Joe, the groom, … [is] … more of a metaphor and it allows me to explore the concept of love in general, which requires a death of sorts.”

Wikipedia

But not only is it a concept album, but the concept as a whole has been taken beyond the recorded medium. During initial tour dates in promotion of the album she performed within churches and asked her audience to come dressed in formal wear. This idea of taking a musical idea beyond simply the album has always interested me, since first hearing and seeing “The Wall” by “Pink Floyd”.

Song by Song

The album opens with the optimistic “I do”, which is where we meet our heroine, “The bride”. “I do” conjures up imagery of a bride singing to herself with an accompanying harp – the main instrument in the song. However we do get a subtle low string in there which gives that sense of foreboding of the tragedy that is pending.

The next chapter in the tale is “Joe’s Dream”, which starts us down the dark sound of the album with a sinister 3-note guitar riff and a distant thundering marching-like drum sound. These songs are soundscapes that you can close your eyes and escape into.

“In god’s house” just keeps upping the stunning arrangements that this album seems to keep presenting. Bat for Lashes always seems to create such unique soundscapes with her music and hearing this third song on the album reassured me that she still has the touch.

In God’s house I do wait
For my love on our wedding day
Dewy eyes and lashes long for my love
But I’m feeling something’s wrong

What’s this I see?
My baby’s hand on the wheel
What’s this I see?
Fire
Fire

“In God’s House” from the album “The Bride”

The albums fifth song, “Sunday Love”, takes a slight left turn stylistically. I mentioned earlier about the Radiohead concert I first saw her supporting – well this song’s opening reminded me of something you might hear from Radiohead in their “Amnesiac” / “Kid A” days. Although by this point I am in love with this album’s tone and mythology, this change in pace and sound was a refreshing minor detour.

The faster pacing of “Sunday Love” brings us perfectly into “Never Forgive The Angels” and “Close Encounters” and their slower paces. The latter of the two has a great display of Natasha Khan’s ability to bring an uplifting feeling out of the Bride’s mourning.

Two thirds into the album and we come to the spoken word “Widow’s Peak” as mentioned earlier. This choice of having a spoken word section was something I also loved on Lana Del Rey’s album Honeymoon too. This song has one of my favourite pieces of imagery in the album too, the last line of the following:

There’s a demon loose, a demon loose
I can’t get home, I can’t get home
For the road is a snake of mist
And the shadow of a rebel’s fist
His jacket on my back, his bones on the shore
But the secret of dreams is to dream up a door
A portrait of him, a picture of her
A keyhole in a Douglas fir

“Widow’s Peak” from the album “The Bride”

By the time we get to the closing three songs of the album, our heroine is becoming optimistic about the future with the song “I Will Love Again” and the uplifting feel of the penultimate song “In Your Bed”.

The Perfect Marriage

Through writing about this album it has forced me to look deeper into it; into its songs and their words. I am so glad I did choose this album to write about next. “The Bride” is a grand accomplishment and does so much in its 13 songs. At a little under an hour long, this album is the perfect story to listen to when you want to experience more from music than simply the music you hear. If you want to be taken on a story across one woman’s emotional journey from dark beginnings to her destination of acceptance and optimism for the future, then this album is for you.

“The Bride” is the perfect marriage of storytelling, emotion and great song writing.

Wild Things by Ladyhawke

I made my finger bleed playing along to one of my favourite songs on this album – the titular song, “Wild Things”. The song isn’t fast, and I’m not particularly great on guitar – I had simply been bitten on the index finger of my fingering hand by our hamster, Moomin. But I didn’t care, it’s a great song to play along to. I didn’t know what key it was in, so I just found a couple of notes that sounded good and pretended I was on stage with Phillipa Brown herself.

Extremely catchy, infectious electro pop.

This is my first time hearing any music by Ladyhawke, and I’m already completely hooked. Listening to her sing, she sometimes reminds me of the vocal sound of Bananarama and even Chrissie Hynde from The Pretenders.

The music throughout this album feels like it’s constantly driving forward with ever-increasingly infectious grooves and power. “Wild Things” is a consistantly brilliant, idiosyncratic album and even though each song is unique, the album has a strong consistency throughout which is tied together by Phillipa Brown’s stunning vocals.

This is what a great album sounds like

The opening song, “A Love Song” pulls no punches. It immediately pulled me into its infectious electro-pop groove and built me up to its big chorus. These huge, unashamed choruses are a staple of this album’s core.

The third song is one of my favourites on the album. “Wild Things”, the titular track, builds up slowly with its ambient electro sounds. Then from out of its electro-atmosphere we can hear a voice rising, singing what will be the album’s chrous. As soon as her voice has risen into coherence we drop into a slower, more reflective sound than has been heard up until now.

Your heartache is not forever
It’s another road that we walk together
And our lives become much stronger
As the world goes on much longer
I wandered far to find the answers
What keeps me alive while taking chances

When you’re always almost lonely
You forget to take it slowly

There’s a fire
In the heartland
We dance around it like the wild things in the night

“Wild Things” from the album “Wild Things” by Ladyhawke

“Chills” burrows its way into that part of the brain that makes you bob you head and tap your feet without realising. As I am writing this along to the song, I realise that I am almost full-on dancing where I sit. God help me when I’m driving home listening to this.

“Golden Girl”, although having lyrics of what I think is about unrequited love, feels like one of the album’s most upbeat-sounding songs.

There’s no way up, there’s no way down
You stole my heart but you throw it around
You give it up then you give it away
Your golden girl waits another day
Ooh ooh ooh ooh ooh ooh ooh ooh ooh
Your golden waits another day

This is the daughter of love running wild
We are the children that play on the other side
But here I am holding cards that will show you
My aching heart’s all too easy to cut through

“Golden Girl” from the album “Wild Things” by Ladyhawke

The album’s closing song, “Dangerous”, is also up there as one of my favourites. Phillipa sings so seductively on the song’s bridge before throwing you into one of the album’s biggest, and definitely my favourite of the album’s, choruses.

This is an album that goes out with a huge bang, and I can’t help but want even more of it once it’s finished.

Underneath it’s spell

The front cover of the album reads “Recorded in spectacular 100% stereophonic sound”. Now I have no idea what that actually means, but I do know that this album does sound 100% spectacular.

Although my thinking of this as an electro-pop album, “Wild Things” has a much more “real band sound” than other electronic albums tend to have – especially the drums. Perhaps that’s part of the whole “stereophonic sound”.

This feels like an album that only comes along every once in a while and is definitely going to remain in my repeated playlist for a long time to come.

This is what a great album sounds like.

Midnight Machines by Lights

Over the past few years I’ve been noticing how things have more of an affect on me than they did when I was younger. Films that touch on the human condition move me more than they did; songs about a loved one have a greater affect as I imagine myself and my girlfriend in place of song characters.

Lights’ music on “Midnight Machines” has this affect on me too. An album that I probably would have dismissed a few years ago, is now one of my favourites of this year so far.

Midnight Machines opens with a slow, finger-picked guitar piece called “Up We Go” and gives a good taste as to the pace and mood of what’s to come on the album. The soft guitar and quiet kick drum that enters later serve well the almost-husky voice of Valerie Poxleitner, the real name of the artist “Lights”.

All of the songs on the album are routed in soft acoustic guitar, minimal percussive arrangement and a voice that remains consistently heart-warming throughout. Occasionally, new instrument sounds will weave into the compositions in a way that helps keep you hooked on her words. The album is built on a foundation of strong lyrics.

“Same Sea”, the second song on “Midnight Machines”, opens with the familiar soft finger-picking but now backed with low piano chords and later a low-played string instrument – cello perhaps. No matter what instrumental arrangement is backing her up, the harmonies produced along with Valerie’s voice are always very moving and very personal.

For me the fourth song “Meteorites” is the best example to showcase her abilities as a vocalist and how beautiful her voice sounds with these awesome harmonies. That’s not to say that other songs on the album are weaker – far from it – this is just the one that particularly struck out to me.

My favourite songs on “Midnight Machines” are the ones where her lyrics are the most personal. In “Don’t Go Home Without Me” she sings a beautiful, reflective song where she perfectly puts herself into the shoes of her future self, reflecting back on a life well-spent with her partner and how she’ll be with them till the very end, and how she is grateful for them having stayed with her.

This is the song I will sing to you when you’re old and tired
I will sing it to remind you that I’m old beside you
And if you’re tired of hearing my voice
I’m gonna sing it to you anyway
‘Cause I know that if we made it this far
Those differences I would put away

Don’t Go Home Without Me from Midnight Machines

When the next song begins it really shows off the great pacing on both the songs and the album as a whole. “Running With The Boys” is possibly my favourite song on the album, and is the one that stands out the most to me for being the more upbeat and faster-paced of the album’s songs.

Throughout the album, she tends to keep her voice at a calm, soothing level. Occasionally when she does raise her vocals up at particularly emotional points, it’s done to great effect.

When I think of this album, I think of it as a warm blanket that I like to wrap myself up in at least once a week. Next time you want an album you can relax to – and enter a calm, reflective mood to – check out “Midnight Machines” by Lights.

Long Way Home by Låpsley

One of the first thoughts that came to me when I listened to Låpsley’s first album, “Long Way Home”, was just how ahead of her years she sounds. She has the air of an artist who has been around for over twenty years or more, when in fact she herself is less than that at the time of writing. At the age of just nineteen, she has already laid the first stones of what will hopefully be a very long, and no-doubt will be a very successful, career.

My first taste of her music was from her 2015 E.P. Understudy and it was the opening song “Falling Short”, which was the only song from that E.P. to feature on “Long Way Home”, that immediately got me hooked on her minimalist arrangements and stunning voice.

I can honestly say that she is an artist who I could pick out of a thousand, identifying her with confidence based on her voice alone. She is one of those singers whose voice you simply can not forgot once you’ve heard it.

Room by room

The opening song “Heartless” serves as a welcoming, calm introduction to this interesting, boundary-pushing album, “Long Way Home”. “Heartless”, like many of this album’s songs, is centred around a calm piano harmony with Låpsley’s voice up front. This isn’t, however, a run-of-the-mill piano ballad as it contains, as does a lot of the album, some really effective uses of odd samples and interesting production techniques.

“Hurt Me”, the album’s next song, opens with a synthesized staccato melody, which really drove me into the album and introduced me to the kinds of sounds that I just wasn’t expecting until now. Even at the end of the song there are odd little samples that work perfectly in a really weird kind of way. By now I knew that Låpsley was an artist not only ahead of her own years, but that of many of her contemporaries too.

I’m not going to mention every song, as I’d like you to find out for yourself, but I do just want to say something about the third song “Falling Short”, the video for which I have included at the end. The lyrics in this song are some of the most cryptic for me. The lyrics seem extremely personal and the way that she delivers them serves to enhance that feeling. In all honesty it was only as I write this now that I have actually gone and looked at the actually songs lyrics as a whole. This song’s lyrics – along with the rest of the album’s – can be enjoyed through simply listening to them being sang, without any real thought into what they mean. Looking deeper into those meanings is like peeling back the onion layers of this complex, compelling artist.

One month till February
Keep on holdin’ on
And I know it’s short
And I know it’s short

And it’s times like these
And it’s days like these
And it’s times like these
And it’s days like

It’s been a long time comin’
But I’m falling short
It’s been a long time comin’
But I’m falling short

Falling Short from Long Way Home

As the album approaches its half -way point with the fifth song, “Operator (He doesn’t call me)”, the album’s sound took an up-tempo turn. This song’s story centres around a woman whose boyfriend doesn’t call her. Instead she finds herself in contact more with the phone operator, and so considers falling in love with the operator instead. It’s a fun song with it’s routes in one of the most boring aspects of life – being kept on hold. Låpsley seems to have the ability to find little nuggets of inspiration in unlikely places.

He doesn’t call me so put me through operator
Maybe I’ll leave him and fall in love with you operator
My baby doesn’t call me so put me through operator
So tell me should I leave him and fall in love with you operator

Operator (He doesn’t call me) from Long Way Home

One of my favourite songs on “Long Way Home” is called “Station”. It is one of the most minimal as I remember that has everything that I love in her music – her voice sang with shifted pitches, layered to hamonize with each other; great sound effect samples used in refreshing ways – notable one which sounds like a pitch-shifted dog woof; minimal instruments that make her voice almost acapella. “Station” is beautifully haunting and would serve as a perfect introduction if one hadn’t ever heard Låpsley’s music before.

The last but one song, “Leap”, reminds me of something from Radiohead’s Amnesiac album, with beautiful echoing synth sounds with a basey, driving beat – not fast – just driving.

Lock the door behind you

Versatility and and a desire for experimentation – this is what Låpsley brings to her craft. I love as well how she doesn’t settle on a set of default samples across the album. Throughout it you will keep hearing new and unusual sounds that never feel disjointed or mish-mashed. I get the impression that she has toiled for hours and hours over the years, building up a unique sensibility for how to put these sounds together in really interesting ways.

Something I’ve also noticed, listening closely whilst writing this review, is how much more I’m hearing around the main songs that I don’t remember hearing before – the odd sample or harmonisations. This album really is a gift that keeps on giving.

Kicker by Zella Day

The bohemian style of artistic life has always seemed like a very romantic one to me. The idea of an artist just upping and heading to a remote place for some unknown amount of time with nothing but a journal and a guitar and just writing for themselves. In today’s world of rushing about and the constant flow of nauseating crap of social networks, it would be easy for you to assume that that way of life was all but gone from the world.

Well you’d be wrong. Zella Day is flying that flag for me.

She embodies many things that I love about great artists and song writing – interesting, sometimes cryptic, lyrics; a fashion sense from days of old but made very much her own; music that is greater than the sum of its parts – she is the kind of artist that the world needs.

All killer, no filler.

On first listening to “Kicker”, I was immediately hooked with the sound of the guitar in the opening of the song “Jerome”. Before I’d even heard her stunning voice, my first thoughts were that if the Roadhouse in Twin Peaks had a rock night, Zella Day and band would go down really well. This first song also demonstrates her vocal abilities – varying her style throughout the song from verse to chorus to coda. From whispery, almost Stevie Nicks-esque sounding, to the controlled screaming of the songs title in the chorus.

The next song, “High” brings more focus to the massive drums and chugging rhythm guitar and does, by all accounts, have the parts needed to qualify as a rock song. But to label it as just a rock song, or a rock album for that matter, I feel would cheapen the album. Zella is bringing so much more to the mix that I don’t think a simple label is possible. It would be like calling Kate Bush simply a pop singer.

“1965” changes the sound up by focussing more on piano from the start and then using more minimal drums and climbing strings throughout.

“Hypnotic” is one of my favourite songs on “Kicker”, with one of my favourite riffs, and at just 4 seconds shy of 3 minutes, this song is as catchy and full of a hit song as they come.

“Mustang Kids” changes things up again with half of the vocals provided by Baby E, telling the story of a small no-name town with nothing good to do in it.

Small town gang got nothing to do
We got guns, got drugs, got the sun and the moon
We got big city plans but it always rains
And the sheriff is a crook and knows me by name

I said momma was insane and daddy was a criminal
I grew up in a trailer with a dream of fucking centerfolds
Now I’m making money experimenting with chemicals
The fact I’m still alive is why I still believe in miracles

Mustang Kids, Kicker

With “Jameson” we can hear a beautiful finger-picked guitar ballad that oozes country music sensibilities – with that slide guitar sound that is so engrained into country music. When you hear a song like “Mustang Kids” and then “Jameson”, you really get a sense of Zella’s versatility as an artist.

Easily my favourite song on “Kicker” is the album’s penultimate track, “Sweet Ophelia”, which is one of those songs that build up to a huge chorus with a slightly breakbeat drum beat that reminds me of Muse’s “Supermassive Black Hole” beat. The musical arrangement serves to complement Zella’s voice to the final big chorus of the album and leads perfectly into the final song, “Compass”.

“Compass” is the perfect final song for an album with this much energy. A piano ballad that brings Zella’s voice to the forefront as she leads us back to our daily lives that more enriched.

Songs with quality roots

All of Zella’s songs, whether they be huge anthemic belters or mellow acoustic ballads, are all rooted in quality song writing and a unique vision. I also learned through watching her video series, Day X Day, that she writes all of her songs on guitar first – with the idea that they could all be played acoustic with no accompaniment if she wanted.

When you hear a song like “Hypnotic”, it may be hard to imagine it stripped back to vocal and guitar, but when you listen to her play it like this, you realise that her songs could either fill a stadium or a coffee shop. She is the very definition of a versatile artist.

I hate to use the term “X-Factor”, as that phrase is now synonymous with crap TV, but Zella Day definitely has that unknown ingredient that makes her musical vision and style special.

She is an artist whose career I will be following closely, and I strongly suggest you do too.

Natural Born Losers by Nicole Dollanganger

This week’s episode of “The Walking Dead” was quite an emotional one. One of the more likeable, newer characters got a good amount of screen time for some interesting character development. That was just before that person was shot in the back of the head with an arrow. When carrying her body back to the home base, the remaining characters were backed musically, by one of my favourite artists at the moment – “Nicole Dollanganger” with her song “Chapel”.

Contrast

Art, whether it be film; tv; or music, is always more interesting when two or more contrasting ideas are brought together to form something that wouldn’t have been thought possible before.

Like when Quentin Tarantino had “Stuck In The Middle With You” by “Stealer’s Wheel” playing over the famous ear-cutting scene in “Reservoir Dogs”. Or when we see Hannibal preparing a beautiful meal only to know that it was made from human flesh.

Nicole Dollanganger’s music fits into this idea of stark contrast perfectly, and is one of – if not the – most beautiful joining of acoustic guitar and a female voice I’ve ever heard.

She is a siren

The opening to the album, “Natural Born Losers”, tells you straight away what Nicole is all about stylistically – although not what she is limited to. Poacher’s Pride opens with a sweet, innocent-sounding voice singing the follow words:

I shot an angel with my father’s rifle
I should have set it free, but I let it bleed
Made it into taxidermy, hung it on my wall
On my wall

Poacher’s Pride, Natural Born Losers

Straight away you get the beautiful sound of Nicole’s haunting voice along with the dark lyrics – a siren enticing you in to experience this darkness with her. And you wont be able to deny her.

That song – and the rest of the album – conjured up imagery and feelings to me, of my watching the first series of the aforementioned TV series, “Hannibal”. For those who haven’t seen it, it’s that dark feeling of beauty in death, and innocence that can be found in the darkest places.

The Style of the Album

Her voice, when I first heard her, immediately made me think of a slightly-introverted, young girl sat in the corner of a pub on open-mike-night, performing to herself, with everyone else there as extras. Her lyrics however reveal anything but an introverted artist – she is telling stories about, and based on, some dark, hard subject matters.

The album’s instruments are often minimal and range from acoustic guitar, to thundering bass-heavy kick drums that you will feel more than hear, as in the song “Executioner”. Occasionally the guitars are used to give a drone, pedal-tone effect, but then out of that darkness a heavily-distorted, almost smothered, electric guitar will stalk towards you. You can hear this in the album’s mid-way song, “Alligator Blood” – one of the album’s heaviest-sounding songs, along with “Executioner”.

From out of the darkest places.

“In the Land” is one of my favourite songs on “Natural Born Losers”, and is a beautiful sounding song with the most horrifying inspiration for a song I’ve ever come across. As I read on a comment for the song, it was apparently partly inspired by an american serial torturer called David Parker Ray, whose story I wont repeat here.

Give it up for the milk carton angel
Soaked in vomit, tied up at the kitchen table
Choking on the chicken bones, a plate of mashed potatoes
Her momma screaming “come on, bitch, chew and swallow”
When she’s done she will give her to the earth

In the Land, Natural Born Losers

In fact a lot of the album seems to have dark inspirations, which is in stark contrast to the result that her songs have. These are some of the most beautiful, emotive songs I’ve heard in a long while and often have her music on repeat when at work.

In Closing

I have tried to give as honest as possible a review of this album and really hope that people reading this don’t see this album’s darkness as something to be avoided. As humans it is important that we experience a wide range of emotions from art and music – even if it sometimes makes us feel uncomfortable – for only when we experience those feelings can we truly grow.

It is artists like Nicole that deserve to be, and need to be, heard. She is one of the few people who dare to look into the darkest reaches of human experience, and sometimes depravity, and come out with some of the best music I’ve heard in a while.

And thank you to Grimes who put Nicole’s album “Natural Born Losers” out on her purposely-formed company in order to get more people to hear this unique artist. Nicole had already recorded many albums by herself at home before this album came out, which are just as good as this album. Its great that she has now been introduced to many more people who can themselves now investigate her amazing back catalogue.

What are your thoughts on “Natural Born Losers”, or on Nicole Dollanganger’s music in general? Leave your comments below and let’s talk.

All I Need by Foxes

I’ve never been much of a Doctor Who fan but I do sometimes find myself watching it with my girlfriend, who likes it. One of the better episodes I have seen was one called “Mummy on the Orient Express”. It was about a Mummy that was killing off passengers in a space version of the Orient Express. This was also the first time I’d heard the artist whose album I am now writing about – Foxes.

In the episode she performs a cover of Queen’s ” Don’t stop me now”. She has a knack for performing great covers, as I later discovered with her version of Pharrel’s happy, mixed with Massive Attack’s “Teardrops”.

“All I need” is the follow up to her debut album, “Glorious”. I didn’t hear the latter until it had been out for about a year and a half. But with “All I Need” I jumped straight in on the strength of that first album. And I wasn’t disappointed – I loved it immediately. There was no skipping through songs to hear the singles I was familiar with; I always listen to this album front to back.

The songs on this album sound huge. Many are unashamedly pop belters with big drums, strings and Louisa Rose Allen’s stunning vocals. Then there are some that take a step back with a slower and, dare I say, darker tone. In fact my favourite song on this album is “Devil Side” – A darker ballad about being in love with someone who has a darker, perhaps even violent, side. But that’s open to interpretation.

Run and hide, it’s gonna be bad tonight
Cause here comes your devil side
It’s gonna ruin me
It’s almost like, slow motion suicide
Watching your devil side, get between you and me

Devils Side, track 7 from All I Need

Common Themes

When you focus on the lyrics of this album, the theme comes through evidently – that of doomed love, and of loving someone that your heart says yes to, but your head is yelling no.

This is what I take from it anyway.

Burrowing a little deeper

Each song on All I Need is great, there’s no filler songs here. And the pacing across the album is just right. In one breath you’ll be hearing a catchy pop tune while in the next you’ll be hearing a stripped down piano ballad.

The opening of the album is an epic-sounding instrumental, which is later reprised on the album’s closing song.

Then we drop into “Better Love”, which starts with Louisa’s singing over simple piano, followed soon by a recurring sound from the album – a pulsing kick drum. This song, along with the following – the super-catchy single “Body Talk”, serve to give you a good idea of what to expect from Foxes – vast, layered, powerful songs.

Of course like any great artist there’s variety in this here album. As mentioned above, “Devils Side” slows things right down, as does “If You Leave Me Now” and “On My Way”.

With “On My Way” Louisa sings over piano backed with a light string arrangement and one of my favourite choruses on the album. The song is played light on the piano as she sings softly. Then the chorus drops deep and heavy as she sings:

Something I just need to learn
Every time I feel alone
I can’t keep running back to you again

Turned my gold into dust
Rain on me until I rust
All I do is run to you again

On My Way, track 12 from All I Need

In Conclusion

This album has songs that would be great to get ready for a party to. Equally some others would be suited to lying in the dark, retrospectively.

If you’re looking for a modern pop album that isn’t afraid to dip into the darker side of love, then check this one out.

This Is Acting by Sia

As soon as the opening song’s first chorus hit my eardrum, it just blew me away. The song felt familiar and yet still fresh. As I continued through the rest of the album I kept getting that same thought. It didn’t take many listens before this album quickly became one of my go-to albums when I’m quickly thinking of an album to switch to when the traffic lights are on red.

Prologue

With “1000 forms of fear”, Sia’s previous album, it was the videos for the album’s singles that got me interested in her music. Even when I hear those songs now I can’t help but think of those great videos. With this album the first time I heard the songs was from the album alone. In fact, at the time of writing, I still haven’t seen the videos for this album.

The first thing that is apparent on this album is Sia’s idiosyncratic singing style. Her often-powerful, sometimes-breaking voice pulls you through some of the most air-drum-inducing songs I’ve heard for a while.

Some Key Plot Points

“Bird Set Free”, as already mentioned, is the album’s opening song and it feels huge. And it’s her voice that’s doing the line’s share of the work in creating that vast audible sound scape. Of course, there are still instruments you would expect from her music – strings; piano; drums; but it’s her soaring voice that lifts the song into the stratosphere and – if you’re not expecting it – will give you a swift kick up the arse when the chorus hits.

“Move your body” is a lot more dancier than I am now used to hearing from Sia, and even though I’m not much of a dance fan, here it works. I’ve not been to many dance clubs but I can picture this playing with torch beams and glow sticks going mental in the chorus. Hell, when this comes on when I’m on the train I wanna just go mental myself if only just to shake of the lethargy of commuting.

One of my favourite songs on “This Is Acting” is “House of fire” – a song with a simple backing, and my favourite chord progression on the album. I realise how that may sound, but it really is. I have marked the point in which it happens in the lyrics excerpt beneath with an asterisk (*).

Babe I want to drink you in
Like oxygen, like oxygen
Baby I’m a house on fire
And I want to keep burning
I’m going on up in flames
And you’re to blame
Yeah, you’re to blame
Baby I’m a house on fire
And I want to keep burning
I want to keep burning*
I want to keep burning
I want to keep burning
Baby I’m a house on fire

House on Fire — track 8

“House on fire” is also the first song on the album whose lyrics stuck out to me as being particular poetic, hence why I’ve included them above. That’s not to say her other lyrics aren’t – I just remember these ones being particularly memorable on the first listen.

“Sweet design” took a complete left turn from the style set up by the preceeding two songs. Here she is singing samples from other well known pop songs and mashing them together into some kind of mad, fun frankenpopsong. I really like this one and it really makes me want to try body popping when I hear it.

“Broken Glass” brings us back to those huge-sounding choruses with a voice that just keeps building and building, seemingly more powerful with each verse. This woman sure has got a good set of lungs on her.

The final song, “Space Between”, is a minimal slow bass groove that gives Sia’s voice complete space to really shine – but a lot more void of other instruments than the previous 11 songs. I think this song would be equally as effective if sang completely a cappella. Saying that, the backing does give the song some extra depth – as though floating through the blackness of space itself.

Curtain Call

Overall the album does well in showcasing Sia’s talents as both a songwriter and an amazing vocalist.

So many feelings are invoked by this album. From the powerful, fist-pumping chrous anthems, “Unstoppable”; “Bird Set Free”; to the slow poetic love letter of “House on Fire”, to the frantic get-up-and-jives of “Cheap Thrills” and “Sweet Design”.

This album is varied enough whilst still being anchored to a commanding control over one of the greatest female voices of our time.

Art Angels by Grimes

This is the album that made me want to start trying to write about my favourite albums – both old and new.

Grimes is an artist in the truest sense of the word. She reminds me of people like David Bowie, Peter Gabriel and Jack White – she uses whatever instruments or sounds fit the song she happens to be writing.

She’s not tied down by any pre-defined musical conventions either: she makes great music, plain and simple.

Complete creative control

Grimes, alias of Canadian-born Claire Boucher, produces all of her own music. After watching a recent interview with her it’s obvious that her passion for music as a whole – as well as her own – runs deep.

Her previous album, ‘Visions’, was produced – solely by herself – on a minimal budget in Garage Band. ‘Art Angels’ feels like it has stemmed out of that creative freedom and control, learned from the making of ‘Visions’, and taken one step further.

She holds the reigns tightly on her own stuff – anyone who wants to meddle can f**k off.

Eclectic and Focussed

Grimes’ music probably isn’t like anything you’d have heard before.

Each song on this album is unique. In one moment she’s punching out some of the best foot-stomping, head nodding pop beats you can imagine – see the song ‘Flesh Without Blood’, the next she’s literally screaming a chorus between Taiwanese rapper, Aristophanes singing on the aptly-named song, ‘SCREAM’.

Despite the eclectic nature of the album, Art Angels feels completely focussed, and not just being eclectic for the sake of it.

A versatile voice

As mentioned before, the songs on this album are eclectic, and so to is her voice.

Sometimes she’ll be screaming, while at other times she’ll be singing softly accompanied by hand-picked guitar – see the album’s penultimate song ‘Life in the vivid dream’.

You can hear her eclectic range of styles well on my favourite song from the album – Kill V Maim. In this one she’ll jump into screaming the end of a verse, followed by a verse sang cheerleader-style, which then drops into a party-anthem-esque thumping chorus.

God knows she’s good

At the end of it all, Grimes is simply a great artist.

From writing, producing and performing live all of her own original material; to drawing all of her own album artwork; to showing a genuine love – and depth of influences – of a large range of musical styles.

When we look back, in the future, at artists who have had a positive impact on the path that popular music has taken – in both style and production – I strongly believe that Grimes will be up there.

Priest by Priest

I’ve been on a bit of an Electronica / Synth-Pop binge recently, and Priest’s debut L.P, eponymously-titled, fits that habit like a glove.

Priest, formally X priest X, is a pseudonym of singer Madeline Priest and producer David Kazyk. Their songs feel like glorious walls of electronic sound.

I think I’m right in saying that this could be categorized as Dream-Pop – it creates a certain mood and atmosphere with walls of layered synthesizers and other such instruments throughout the album. When I say Dream-Pop, you may start imagining ethereal soundscapes with no real punch. Well get that thought out of your head right now – just get it out.

The beats here are solid. There’s nothing mad going on with the beats – no surprise, off-beat time signatures – but this album is all about the atmosphere it’s creating. These beats give a solid drive for travellingthrough that atmosphere.

Electronic Upbeat Melancholy*

*Term Coined.

The lyrics and singing style feel melancholic, but the layered background and driving beat give the overall sound an upbeat and positive feeling. I’m not of the belief that all music needs to be happy happy joy joy – in fact I love a bit of sad music now and again – this is simply the impression I get when listening to Priest’s album.

Madeline sings kind of softly over the deep electro-geography of the opening song, “The Game”. Not soft as in weak. It’s soft as in using her voice as another layer within the song. With other songs, like “Heartbeats” and “Waiting For The End To Come”, her voice belts out with gusto. It’s nice to hear an artist who can give it some whelly, but only when it’s needed.

Even though I’ve only been listening to this album for about a month or so, it already feels like an old friend. It’s one of my current go-to albums to listen to while I’m coding (building websites).

At home in the 80s

This album feels like it would be at home equally in the 80s as it is now.

In fact one of my favourite songs from the album – “Waiting For The End To Come” – always brings up an image in my mind of two 80s kids dancing at some nondescript disco as the closing credits start on some John Hughes film. Think Molly Ringwald and Jon Cryer from Pretty in Pink.

The end of our sermon

You should now head off and take 40 minutes or so to listen to this modern 80s electro classic. You wont be disappointed. I myself am already looking forward to Priest’s next album. I’m really interested in seeing how the sound will progress with future releases.

Thanks for taking the time to read this review.

Honeymoon by Lana Del Rey

From the moment I first heard her previous album, “Ultraviolence”, I was hooked. Honeymoon then became my most anticipated album of 2015.

And I was not disappointed.

From the moment the first strings on the title song began, I could feel that this was going to be another unforgettable dive into the cinematic, haunting world of Lana Del Rey’s music. In fact I recommend listening to this album for the first time in total darkness on your own if you can.

This isn’t required, but it really helped me to absorb the music as much as possible.

Melancholy

The melancholy of her previous album is still present but feels more upbeat this time around. You can hear this notably on the album’s first single, “High by the beach”.

Not that melancholy is a bad thing at all – some of my favourite music is just that – what I’m trying to get at is that her unique sound is still there, but she’s taking it into new places.

She’s an artist who isn’t afraid to push her voice to the front and centre – often making her sound vulnerable and alone.

This is demonstrated perfectly in “Terrance Loves You”. This is minimally backed through the opening verses, and builds to a soaring chorus, still managing to stay somehow minimal – just herself, piano and strings.

Well I lost myself when I lost you
But I still got jazz when I’ve got the blues
I lost myself and I lost you too
And I still get trashed, honey, when I hear your tunes

From “Terrance Loves You”, Track 3.

The sound of the album

She often harmonizes with herself backed by minimal, reverbed instruments – pianos and light strings. This helps create that unique world I mentioned earlier: haunting; cinematic. Saying that however there are plenty of uses of light drum beats in this album – often when building to the climax of a song, never just for the sake of having a drum beat.

The melodies throughout this album are gorgeous too. The pan pipe sounding intro to Salvatore is a great, hypnotic example of this, which she replicates vocally for the chorus.

Ah-ah-ah-ah, Ah-ah-ah-ah, Cacciatore.
Ah-ah-ah-ah, Ah-ah-ah-ah, Limousines.
Ah-ah-ah-ah, Ah-ah-ah-ah, Ciao Amore.
Ah-ah-ah-ah, Ah-ah-ah-ah, Soft ice cream.

From “Salvatore”, Track 10.

My favourite song on the album would probably have to be 24. It’s a crowning achievement on a great album, which show’s off something that I’ve been saying for a while – if she wanted to, she could write one hell of a bond song.

In fact Spectre has recently been released – the 24th bond film. Coincidence? Or is this a cheeky wink from Miss Grant? I’d like to think the latter.

In Conclusion

If you’ve never listened to a Lana Del Rey album before, this is as good as any to start with. My personal favourite of hers overall is probably still “Ultraviolence”, but this album also has a couple of my favourite songs of hers.

If you have heard her previous albums and are yet to listen to this one, wait no longer. You wont be disappointed.

What are your favourite songs of Lana’s? Let me know in the comments below.

100 Albums #2 – The Wall: Live in Berlin by Roger Waters (and various artists)

A couple of weeks ago I went to see the one-night-only showing of Roger Waters’ The Wall at my local cinema. That performance rekindled my love for that album – indeed Pink Floyd in general.

Yesterday I revisted an older performance of the album, which was given at the Berlin wall at the time when it was being torn down.

Very apt.

This performance of The Wall is unique, in that many of the songs are performed by guest artists. My personal favorites of these perfomances are Bryan Adam’s “Young Lust”, Paul Carrack’s “Hey You” and Van Morrison’s “Comfortably Numb”.

For any fans of The Wall, this album is a milestone performance and must be experienced.