Notes

[](https://davidpeach.me/wp-content/uploads/2023/08/Made-in-the-Manor-by-Kano.jpg)

When it comes to UK rap music, few are revered in quite the same way as Kano is. Present in the Grime scene from the early days, he has had five studio albums to date. Made in the Manor is his latest and stands up, hands down, as one of the best rap albums I’ve heard.

This is definitely an album that has grown on me over time. The opening songs grabbed me instantly but the later, more introspective, songs took a bit longer to get their hooks in me. But now that they have, they get better and better with every listen.

Welcome to the jungle

The opening of ‘Hail’ – the album’s first song – is sharp, loud and aggressive. This whole song is unrelenting throughout and Kano’s delivery is right up in your face forcing you to stand up and listen. The chainsaw melody that carries us along is later joined by the best sample i’ve heard for a long time. The sample is of Tempz, from his track ‘Next Hype’:

(CLEAR!) All of your CD rack
Won’t get none of your CD’s back
— Next Hype, Tempz.

Some manner of respite comes with the next song, ‘T-shirt Weather in the Manor’, which brings with it a calm piano melody and light drumming. Kano’s vocals are no less commanding on this song with the lighter accompaniment.

‘New Banger’ and ‘Three Wheel Ups’ bring that in-your-face energy back in spades with some great featured rappers. Giggs and Wiley both feature on ‘Three Wheel Ups’ and do an excellent job of supporting Kano. Even D Double E can be heard in parts doing his signature “ooooh”.

[](https://davidpeach.me/wp-content/uploads/2023/09/giggs-and-kano-in-the-3-wheel-ups-video.png)

‘This is England’ was the song that made me first sit up and take a closer look at this album. The various layers and production on this song made me realise that this album was something special. Like Charlie Sloth said in Kano’s 1 extra, this feels like a seminal record.

All in the family

There were two songs that stood out to me for just how personal and confessional they sounded. ‘Little Sis’ and ‘Strangers’ feel like personal monologues directed to a sister and brother respectively. Although these songs initially didn’t grab me as his big tunes did, I have since come to enjoy them both in a whole different way.

When I first got into Kano all I wanted to hear were his big tunes – they are so addictive. But now that I’m in the habit of listening to Made In The Manor front to back, these more personal songs fit perfectly with the overall flow.

From the family you’re born with to the one you choose : all of the guest features on this album feel like they are done from a place of love. What I mean is, I imagine many rappers feature on other artists’ tracks for the chance of exposure. I could be wrong about that but it does make sense. On Made in the Manor, however, each feature feels like it is Kano and his close friends, who are just making great music together.

Summary

Whether you think you are a fan of rap or not, I urge you to listen to Made In The Manor regardless. There is so much variety in this album that I truly believe there is something for everyone. He delivers the fast-paced heavy hitters with a great level of confidence and Authority. And he delivers the more introspective songs with an honest sincerity.

Don’t be a statistic blaming ghetto physics for holding you back.
— a great line from the song ‘Seashells in the East’

Along with others like JME, Akala, and Devlin, Kano is up there as one of my favourite rappers. Like those others, Kano’s sense of humour comes through in both his lyrics and his unique delivery.

He never rests on his laurels either. He could have easily delivered an hour of quick-witted, fast bars throughout and fans would have been very happy. But with Made in the Manor he has pushed himself further, whilst looking deeper within. As a result, Kano has come out the other end with a true masterpiece of an album. Not just in rap, but in all music.

[](https://davidpeach.me/wp-content/uploads/2017/11/Nocturnal-by-The-Midnight.jpg)

[The Midnight](https://www.themidnightofficial.com/) are a two-piece synthwave band consisting of songwriter Tyler Lyle and producer Tim McEwan. They are from the American deep south and Denmark respectively. However, they now both live in Los Angeles and make some of the coolest music of the past few years.

They are well respected, often revered, within the Synthwave community. Their music is awash with eighties retro sensibilities and an innate ability to bring back the parts of that era we often see through rose-tinted glasses.

Nocturnal by The Midnight

Nocturnal is the third full album release by The Midnight and is as strong an album as I have come to expect from them.

We open the album with footsteps on a rainy Los Angeles street. The sirens in the background and the initial synth pads that swoon in gave me similar feels to Sarah Connor before ducking into the Tech Noir. I wasn’t to know just how close to the Terminator we were going to come with this album – more on this in a moment. This first song, ‘Shadows’, is a steady beat and synth driven tune that soon showcases singer Tyler Lyle’s awesome, almost vulnerable feeling, vocals. And you best believe there is a little bit of Saxophone sprinkled in there too. This song brings you straight into the era they are shooting for with style.

It was great to hear Nikki Flores’ return after her previous collaboration with The Midnight on the previous album’s hit ‘Jason’. This time she takes the microphone for ‘Light Years’, her voice pairing perfectly with Tyler’s. Meanwhile on ‘River of Darkness’, we are treating to a different kind of collaboration. Fellow Synthwave artist Timecop1983 helps out in the production of ‘River of Darkness’, creating a stunning mid section to the album.

Inspired by the greatest

‘Crystalline’ is most definitely one of the stand-out songs for me on this album. It was also the first single to be shown off from Nocturnal. The vocals continue with their dreamlike delivery as we are led into what can only be described as a head nod towards Phil Collins. The drum fill that thrusts us into the wailing Saxophone solo, sounds wonderfully inspired by those infamous beats from ‘In The Air Tonight’.

The title track on this album feels like a love letter to Brad Fiedel – the composer from the Terminator. The song begins so close to one of the most iconic film themes ever written. The iconic theme I speak of is the main theme from the Terminator. Again, as with the Phil Collins flavours on Crystalline, these Terminator-esque beats are merely a jumping off point. The song soon blossoms into its own deep synth bass/beat driven beast. Noctural also featured synthesizer sounds that sounded identical to ones used in the film.

These inspirations seem to come from a place of deep love and respect for the era and the artists. As opposed to simply being a popular retro vehicle for them to write on. It’s the delicate touches throughout this album that put it in the upper circle.

Summary

Even though Synthwave is one of my favourite musical genres, I don’t tend to write about it that often. This is only due to the fact that I think I’d end up repeating myself with most albums and artists. Most I’ve heard have been great, but there are those special few that warrant the time it takes. FM-84 are one such band, The Midnight are another.

Not once was I awoken from their retro spell during this album. When listening, you will be transported to an idealistic moment of the eighties – if you allow yourself. A moment pieced together from your own memories of films and tv shows of the time. Those memories then bound together with the beautiful music from Nocturnal by The Midnight.

[](https://davidpeach.me/wp-content/uploads/2023/09/Braver-than-we-are-album-cover.jpg)

I am a huge fan of both [Meat Loaf](https://meatloaf.net/) and [Jim Steinman](https://www.jimsteinman.com/). Their music, whether separate or in collaboration, has a special place in my heart. From the Bat albums to Welcome to the Neighbourhood; from Bad Attitude to Blind before I stop. Although the Steinman-penned albums are in a league of their own, I still enjoy Meat Loaf in his own right throughout his career.

Apparently there is a photograph somewhere of me singing along to Bat out of Hell when I was about four years old. In the photo I am seen sporting my own red hanky as seen in the music video. Rocking from an early age!

I am ashamed to admit that it has taken me a year from its release to actually listen to ‘Braver than we are’ in full. The reason for this is because on first hearing the album’s opener, ‘Who needs the young’, it just didn’t have that unique aesthetic I was expecting. After revisiting Steinman’s only solo album, ‘Bad for Good’ recently, I also decided to give this album another try – and I’m so glad I did. I didn’t give this album the time it deserved right off the bat (no pun intended).

I now present my thoughts on the album.

Braver than we are

Meat Loaf has had full collaboration with Jim Steinman on four of his thirteen albums to date. The first, and most famous was Bat out of Hell from 1977. The album ‘Deadringer’ following in 1981 and is so underrated if you ask me. Then came Bat out of Hell 2 in 1993, which is an album that got me through my years at high school.

Now, twenty-four years later, I am discovering their fourth collaboration – the unashamedly epic ‘Braver than we are’. As soon as I heard the news that Steinman and Meat Loaf were working together again I got all giddy like a school boy. And although it’s taken some time for me to ‘get it’ I’m now glad that I do.

The only thing more scary than a literal Bat out of Hell is the ongoing march of time. These two accept time’s weathering effects and embrace it completely in the music that they have created here. They made the conscious decision to not try and imitate what has come before – instead creating something new and fresh. In my opinion they have done this in spades.

Souvenirs from the past

Steinman is known for re-imagining and re-recording his music with different artists through the years. This album stays on par with that. However, many of the songs here I hadn’t heard before, as their roots can be traced back to his early musicals that I haven’t heard. Musicals such as The Dream Engine from 1969 and Neverland from 1977.

Saying that however, you may well recognise many melodies and chord progressions from earlier Meat Loaf albums. ‘Original Sin’ can be heard haunting the song ‘Loving You Is a Dirty Job (But Somebody’s Gotta Do It)’.

What I find really great about Steinman’s music is how it has stood the test of time, and has adapted through the years. As different artists have interpreted his works it has given the songs new dimensions. Hearing a well known lyric from the Bonnie Tyler song ‘Total Eclipse of the Heart’ during ‘Skull of your Country’, made me want to throw my fists in the air with joy. Cian Coey, who accompanies Meat Loaf in this song adapted its delivery beautifully and absolutely nailed it.

Stand out songs

The album kicked into a more familiar gear for me with the second song: ‘Going All the Way (A Song in 6 Movements)’. This song is absolutely incredible in how it takes you to so many places in its eleven and a half minutes. It is as grand and as symphonic as I’d expected from Jim Steinman’s pen. Like the rest of the album, it gets better with each listen.

The two featured vocalists on ‘Going All the Way’ are worth mentioning here. Ellen Foley and Karla DeVito both feature, with the voices of both soaring high and wide across the song’s huge canvas. They were both featured on the studio and live versions of the classic ‘Paradise by the Dashboard Light’, respectively. So it was great for them to come together for this album after so many years have passed.

Souvenirs touches a lyric from Two out of three aint bad and a musical progression from ‘Left in the Dark’. It’s little touches like these that made the album feel like home on the first listen. And if I wasn’t in love with this album before the song ‘More’, then I definitely was afterwards. This song brought with it an almost John Carpenter accompaniment along with its deep chugging guitar work.

Braver than we are closes on the gloriously upbeat, rock n roll belter, ‘Train of Love’. Closing the album in true Steinman style: an anthem to those moments when you feel like you’re on the head of a match that’s burning.

Summary

Any fans of the grandiose lyrics and arrangements of Jim Steinman will not be disappointed with this album. Anyone expecting Meat to hit the same high notes as he did in his early days, take heed – he isn’t afraid to embrace his deeper voice in this album, and neither should you.

Meat Loaf is known for his operatic delivery and larger than life presence on his albums. But on ‘Braver than we are’ he isn’t afraid to reel it in. As he sings on ‘Who needs the Young’, his voice just isn’t what it was. And that’s okay. Even in the lower end of the spectrum he delivers with the same authority that I always remember him having.

The more I listen to this album, the more it feels like a goodbye from both Steinman and Meat Loaf. The usage of so many themes from earlier material made this album feel like a closing overture to their collaboration. Kind of like how ‘overture’ from The Who’s Tommy touched on that album’s later themes and riffs. ‘Braver than we are’ did this for me but on a grander, career-spanning scale. All of this in the waning era of some of the most powerful, passionate music I have ever had the good fortune to experience.

[](https://davidpeach.me/wp-content/uploads/2017/11/Bad-for-Good-by-Jim-Steinman.jpg)

Bad for Good by Jim Steinman is one of my all time favourite albums. Less is known about his only solo album than his collaborations with Meat Loaf.

It’s a crime that more people aren’t aware of this album. I absolutely adore every song on here and if I had to choose some desert island discs, this would be on there. Other artists, who have worked with Steinman, have been able to do versions of some of these songs. But for me nothing comes close to this grand, hugely personal collection.

Bad for Good by Jim Steinman

Bad for Good, the eponymous opening song, kicks the album off with pure fire. It encapsulates the things that Jim is so great at: intense, energetic musical passages; huge, expertly-woven orchestrations; lyrics that paint epic pictures of passion, power and love. His lyrics read like poetry and are delivered with great conviction and authority. The speed change half way in, with the verse that follows it, is one of my favourite moments on the whole album. The whole song plays like its own self-contained, nine-minute opera.

[](https://davidpeach.me/wp-content/uploads/2023/08/Jim-Steinman.jpg)

‘Lost Boys and Golden Girls’ is a much calmer piece, which I think is needed after that opener. Meat Loaf’s Bat Out of Hell 2 album used another version of this song in 1993. However, Jim’s version feels much more personal and stripped back to me. I love both versions but something about Jim’s rendition just pips Meat Loaf’s to the post.

‘Love And Death And An American Guitar’ is another track that was reused on Bat Out of Hell 2. Again, as with the previous song, this version is a lot more stripped back – with nice synth fills used to dramatic effect. It’s actually a spoken word piece that acts as an intro to the song that follows, ‘Stark Raving Love’.

‘Stark Raving Love’ and ‘Out of the Frying Pan (And into the Fire)’ both keep the energy riding high. As does a later song called ‘Dance in my pants’, a fun duet with Karla DeVito in a similar vein to Meat Loaf’s song ‘Dead Ringer For Love’ (also written by steinman).

Big energy and wide diversity

Jim Steinman’s music has such energy and diversity to it and Bad For Good is the best possible showcase for those qualities. These songs never fit into a simple groove and just plod along. They are either melting your face off from fifteen different directions or are ripping your heart strings out with their gorgeous melodies and melancholic lyrics.

‘Surf’s up’ and ‘Left in the Dark’, two songs that slow the pace somewhat are such beautiful ballads. The latter is a heartbreaking, often angry ballad about a man aware of his lover’s infidelity. These lyrics taken from the song say so much more than I could by describing it to you:

But don’t tell me now, I don’t need any answers tonight
I just need some love so turn out the lights
And I’ll be left in the dark again

Left in the Dark, Jim Steinman (from Bad for Good – 1981)

The album closes with the huge-sounding orchestral instrumental, ‘The Storm’. This piece wouldn’t be out of place as an overture for a huge opera production. And it serves further show just how diverse this man’s music is. It’s moments like this that make me wish that Jim Steinman was a prolific film composer. His operatic and, quite frankly, epic visions for music would do cinema so must good.

A gem of an album

Bad for Good is a golden nugget of an album. It’s not very well known, even by many rock fans I’ve met, which is a shame. Whilst many may recognise his name from the front of Meat Loaf’s biggest albums, many more may not be aware of this solo album of his. I’m going to go on record and say that I believe this album is a cult classic – it demands to be listened to and appreciated by all.

[](https://davidpeach.me/wp-content/uploads/2017/11/Masseduction-by-St-Vincent.jpg)

Masseduction is the fifth album by alternative pop artist St Vincent – real name Annie Clark. It’s a showcase for her varied approaches to creating great music and never fails to deliver the goods.

I had no prior experience with any of St Vincent’s music before hearing Masseduction. Within the first couple of songs, certainly by the time I heard the eponymous track, I was hooked.

She displays a diverse range of styles that come through on this album, many of which echoed in my mind back to artists past and present.

I couldn’t help but get Alanis Morissette vibes from the album’s second song – the energetic ‘Pills’. ‘Pills’ is super catchy and could have settled in that groove for the whole song. But, in what I’ve now come to expect from her, she switches up the tempo and style two thirds in.

These changes, which happen in a few of her songs, are hugely effective and was really a gateway drug into St Vincent’s music for me.

Then once the title song ‘Masseduction’ dropped… I just lost my shit.

‘Masseduction’ is the album’s third song, and plays like a love letter to Prince. Everything from the song’s title; to the distortion-heavy guitar licks; and through the song’s funky beat. But in no way is it a cheap knock-off. On the contrary – since Prince, and other great heroes of music, have recently passed – we are in dire need of great idiosyncratic artists to stand up for good music. St Vincent is a part of that army.

The album continues through further belters, ‘Sugarboy’ and ‘Los Ageless’, that keep the energy up high without ever becoming tiresome. The music video for the latter enhances another aspect of St Vincent I find compelling – her visual style through the album’s artwork.

The artwork for this album seems to further support the sound she is going for. With its glossy, vibrant colours and sharp edges, but with cryptic imagery that conceals a deeper message beneath the shiny plastic.

The album closes its first half with the stripped back, and welcome, piano ballad ‘Happy Birthday, Johnny’. With the removal of nearly all instruments but for a piano along with her voice, we get up close and personal with her. This departure from the previously up tempo tracks serves to give an extra layer to her message. Here she is pealing back the shiny cover to expose the heart beneath. And the result with this song is a gorgeous ballad that tugs at those heart strings.

Just when I thought I’d heard her at her most energetic, along came ‘Fear the Future’ – a frantic piece backed by the craziest beats on the album. If I’m honest, the dance music style that is informing this song isn’t a style I would choose to listen to. And while it’s not nearly my favourite song on the album, Annie still makes it work within the context of this gorgeous, neon pick and mix of an album. (I have no idea what neon pick and mix means – I just thought it sounded cool in my head).

The album’s closing song, ‘Smoking Section’ is definitely my favourite on the whole album. It feels like one of the most personal of the collection too, with some real guts to it. The drum / low-synth fills that hit the song in two places, have such a deep guttural punch to them. These short riffs were reminiscent of something by The White Stripes to my ears. But just as soon as the one-two punches have landed, she switches the song up from melancholic to hopeful with the repeated lyric “It’s not the end”. Her voice fading into the ether as she does.

While never faltering from her own path, St Vincent manages to dip her toes into a good variety of styles for this album. I am completely mesmerised by every song and probably will be for some time to come. A lot of pop music is much of a muchness to me nowadays but people like St Vincent keep the flag flying for introspective, thought provoking music with hidden depths.

If you want to increase the overall quality of your music collection, then pick up Masseduction by St. Vincent now.

[](https://davidpeach.me/wp-content/uploads/2017/10/Tropic-of-Cancer-by-Roslyn-Moore.jpg)

Roslyn Moore is back with her second desert opera, Tropic of Cancer.

I was an immediate fan of Roslyn’s as soon as I first heard her stuff on Soundcloud over a year ago. So the announcement of this new album did get me excited.

Evolution of the desert opera.

Tropic of Cancer is the new album by Roslyn Moore, which builds upon the material from her previous album Hazy. Those older songs – some of which have a different sound to them, coupled with 9 new songs – make for a deeper and darker Roslyn Moore experience on this album.

I’ll first address the elephant in the room. Yes, all of her songs from Hazy are on this new album but what you have to remember is, is that these songs have been available for free on Soundcloud since their release. With this, I tend to think more that she is working out her sound and albums in the public space. Kind of like if a painter uploaded her pictures in stages as she was painting them. The same emotional and ideological core, but each iteration building on the last into a stronger end piece.

Some hand-picked favourites

There were a few songs that immediately stuck with me from Tropic of Cancer. These tended to be ones that sounded like she was experimenting with her sound.

[](https://davidpeach.me/wp-content/uploads/2023/08/roslyn-moore.jpg)

Starting with the ebbing and flowing of quiet percussion, **The Great Escape/15 Rounds** was refreshing to hear from Roslyn. The percussion starts and stops with her spoken lyrics continuing, giving it a 50/50 mix of accapella and accompaniment. It gives the song a really interesting sound that is unlike anything Roslyn has done before.

Speaking of things she hasn’t done before – scaring the hell out of me is one of them. The last quarter of Hazy/Agents At The Ferris Wheel took a complete left turn into what I can only describe as a drug-induced, Industrial nightmare. I was nodding off to her calming vocals and this thing just hit me off guard.

It scared the absolute living shit out of me. Good job.

Probably my favourite on the album is a song called Coke&Weed. With its marching-band / jazzy / guitar-kissed infusion, this song has so many interesting parts to it that I keep going back for more. This song would sound so fucking awesome played live in the Road House on Twin Peaks.

In closing

You should think of Tropic of Cancer as more of a transformation from her previous album. All of the songs from her previous album, Hazy, are on here – but so too are 9 new songs. Not only that but some of her previous songs sound like they have been redone / remixed.

I love that Roslyn is still pushing her music forward, experimenting with new ideas, whilst still remaining true to her emotional centre. These songs are still soaked in a dark melancholy, only this time she’s coming at it from new angles and with new styles.

Her Tape #2 is a six-track E.P. released by ‘Her’ in April of 2017. This E.P. was one of those random finds that I now couldn’t imagine not having in my regular playlist. All of the songs on here are made up of an eclectic mix of instruments and singing styles, expertly woven together.

After a french-spoken introduction, ‘Blossom Roses’ begins with a soulful voice singing over a simple organ melody. The chilled out nature of this music just welcomed me into it like a huge wool blanket. Like the one my lady knitted for me at Christmas. The song soon flowers into what I can only describe as being influenced by Zero 7. ‘Blossom Roses’ was such a great escape from the monotony of my regular commute that I had to hear the whole E.P. before I started work that day.

The next song, ‘Queens’, mixes up the singing style from the previous and has an awesome little guitar riff throughout. Just with ‘Blossom Roses’, the song builds up brilliantly to its crescendo. ‘Queens’ gave me some vibes similar to the band Arcade Fire in parts.

‘Jeanie J’ helped the band’s knack for effective arrangement really sink in for me. Just like with the rest of the songs, none of the individual parts of ‘Jeanie J’ appear to be particularly complex, yet they come together to create a beautifully-arranged song.

If you find yourself with twenty minutes spare nad not sure what to do, check out Her Tape #2. After listening to it, it left me wanting another twenty minutes from them.

I’ve just been reading about how a decision today could potentially lead to the end of SoundCloud. The company has just been saved by a couple of investors but still may be gone very soon.

I’ve discovered some great artists through SoundCloud and will be somewhat saddened if / when it does indeed die.

It also makes me think whether or not I could create a similar service to take it’s place. I know there is Spotify and Google Play et al, but those just don’t seem to me to have the same heart as SoundCloud.

Twin Peaks has always been a show of, amongst many other things, great music. Not only is its soundtrack one of the most instantly recognisable from any show, but Julie Cruise’s performances too were unforgettable. It’s been great to see that the music in Twin Peaks The Return has pushed the music even more front and centre.

Nearly every episode has featured pretty much a full performance from bands playing in The Roadhouse. And every one has been stunning – not least of all was last night’s performance by none of that Rebecca Del Rio. Fans of David Lynch may remember Rebecca from his film Mulholland Drive and her French performance of Roy Orbsion’s “crying”. 17 years on, and her voice is just as, if not more, powerful than ever.

Lynch really does have a gift for picking out unique and interesting bands for these shows. Another band I have got back into thanks to Twin Peaks is a dreampop group called “The Chromatics”. The music that these three make is made for the world of Twin Peaks.

The biggest band to have been featured thus far, as of part 10 at least, is Nine Inch Nails. Trent Reznor and band absolutely kill it and setup the show’s most bizarre and intense sequence to date perfectly.

[](https://davidpeach.me/wp-content/uploads/2017/07/melodrama-by-lorde-cover.jpg)

Melodrama by Lorde is an album I have been waiting for with baited breath, being one of my favourite artists over the past ten years.

I was a little worried by the sound of the album’s first single ‘Green Light’. I liked the song well enough, however, it didn’t seem to me to have that idiosyncratic sound of Lorde’s. When compared, for example, with Tennis Court from her first album.

That was my initial thought. However, now I have come to listen to the entirety of Melodrama, every song on it is growing on me.

I loved how on this new album she seems to be bringing in a wider array of sounds and styles into her music. It feels somewhat lighter this time around, with the songs feeling much more unified across the album – feeling like a complete arrangement start to finish.

Even on first listening, some songs jumped straight up at me. ‘Writer in the Dark’ is as bare and as beautiful as they come. Her voice climbs higher than I had previously been used to hearing from her and it is glorious. She seemed to me to be channeling the essence of Kate Bush at times in this song.

I think with the huge popularity of ‘Pure Heroine’, her first album, it was always going to be a tough one to follow. There was a worry for me that she would end up pigeonholing herself into the niche that she created. She could have either given us more of the same – playing it safe and giving her fans what they loved, or tried out new things and expanded the boundaries of her sound even further. Her choosing the latter made me very happy and very relieved.

Melodrama has the hallmarks of an instant classic for me. She has taken her signature sound and style, and moved up a level; pushing her sound and our perception of what she is capable of.

You can buy Lorde’s new album on Amazon today.