Fall Out Boy’s seventh studio album MANIA dropped 3 years ago today! That’s crazy how the last few years have completely flown past. So as an album I really loved but was somewhat polarising to an already divided fanbase, I thought on its birthday it’d be a good idea to look back on the 2018 effort from the Chicago heartthrobs.
One of the leading names in the pop-punk scene of the early 2000s, Fall Out Boy have been through numerous sounds and sonic shake-ups. After their four year hiatus, their comeback album Save Rock and Roll was received tremendously well, and fans wouldn’t have to wait long for a follow up in the form of American Beauty / American Psycho. But something was missing, both great albums but stylistically very connected. AB/AP sounding like a more polished off version of Save Rock and Roll, just perhaps more anthemic. So after the non-stop tour cycle of the last two albums, work began on the next. Initially scheduled for September 2017, the album was pushed back by the band to January 2018, upon which the beast was finally laid out to the world.
I actually think the album starts off on a really high note, Stay Frosty Royal Milk Tea is a brilliant fast-paced in your face track that just fills you with adrenaline. Combining this heavy rock riff with electronica in something that sounds not terribly out of place amongst the likes of T2: Trainspotting the soundtrack. Leading straight into The Last Of The Real Ones, another fasted paced but piano-driven rock anthem. After the general new sound of the singles we were treated to in the first half of 2017, The Last Of The Real Ones showed fans that Fall Out Boy were still capable of that modern pop-punk style, but still showing off some of that new sound this album had to offer. An almost off-kilter psychedelic soundscape is present right the way through this album which for Fall Out Boy, is actually something the band hasn’t really explored before, and for me was a very welcome change, people laugh at me for saying this but it was almost like a sonic maturity bled through this record and I really dig it.
HOLD ME TIGHT OR DON’T fuses funk like ska influences to the typical pop-punk prowess but works really well. I think it’s this track that the main issue I hear people bring up about this album starts to show, which is the over-production. Now it’s all a stylistic thing, but in some tracks my god it really works to benefit them. Like I said StayFrosty is a blood-pumping powerhouse and I think the production really compliments the performance on that track really well. But with HOLD ME TIGHT, I think some of the guitars and even the bass get left behind especially in that first verse. But all of those problems are fixed in live performances, the bass is cranked up and the clean guitar parts are much more present. Which is the same to be said for Wilson (Expensive Mistakes). Interpolating Straight To Hell by The Clash, this was a song that was first heard live, but because of this, I think I got too attached to that rendition. The album version is great too, but I think this track in particular benefits with the rawer sound of the guitars, the bass and the drums. The pre-chorus especially just sounds absolutely majestic live but in the studio sounds like somethings holding the overall sound back which is a shame because it’s a really well-written song. A band like Fall Out Boy never really loses it’s ’emo’ identity of the era they thrived in and the line “I’ll stop wearing black when they make a darker colour” just screams out to the inner alternative you.
Church is just a really cool track, the bassline is absolutely monstrous, in fact, this album really allows the bass to shine a lot more than the last 2 albums which adds a new dimension to the tracks which I absolutely adore. And I mean who the hell gave Patrick Stump and crew a choir? And it works? Insane. And the breakdown makes you want to stop the world. It’s beefy and begs for your attention, and Stump’s vocals on this track are great, really showing off that soul voice of his.
Starting the second half of the album is Heaven’sGate, a pretty ballad with a kick. I think it’s probably one that gets some of the least attention given to, but really I think that’s generally how the second half of MANIA as a whole is lit. For one of the slower tracks on the record, it has some of the cooler drum fills drummer Andy Hurley has to offer, perhaps the softened tone of the verse allows for intricate drum parts to pop out more than they would in the mix of a more energy driven song like Stay Frosty. Champion swiftly comes in next and to be honest, I really like this album all the way through so I can really appreciate what the boys were going for, especially here with Champion but I also get why people weren’t so keen. It’s very clearly the Centuries of this LP, very radio-friendly. Although don’t shoot me but I think I prefer this over Centuries… I mean yes the lyrical content (choruses aside) isn’t as diverse as Centuries, but on a performance and songwriting side, I think it just pops out here better, and the vocals Stump lays down especially on that outro is just killer.
Up next is Sunshine Riptide which I think is a really interesting track musically. Combining psychedelic sounds with those of reggae and hip-hop especially in the way of the flow of Stump’s vocal performance accompanied by featuring artist Burna Boy, who’s verse really grooves with the tracks vibe so well, with the bassline in this track being especially delicious. But I think because it is so new to the scope of Fall Out Boy’s sound, it leaves it in the firing range of “this isn’t pop-punk, boo”. Which is perfectly valid, but I think for a band that’s been around for nearly 20 years, to still be able to experiment with sounds and explore other genres after being shoehorned into such a specific scene, is a testament to the guys. However speaking of experimentation next is Young and Menace, the lead or ‘first song we had finished so we put this one out’ single (which doesn’t have as good a ring to it).
The track starts with some really eerie verses, low register vocals, clean chorus drenched guitars heralding this nightmarish psychedelic vibe that perked my interest very quickly, building to an EDM chorus. Which yeah not the obvious musical transition, and was extremely polarising at the time. It grew on me between its release and the rest of the album following the year after, but I completely get why fans didn’t respond well to it. You take a formula of a sound and out of the blue do something so different that it is almost unrecognisable as the band who released Sugar, We’re Goin Down. The vocal chopped and pitched vocals in the chorus being very out of the ordinary for a band like Fall Out Boy, at least to this scale, but the band said they needed a palate cleanser, the emphasis on the colour purple and the entire shift in sound, it walked so the rest of MANIA could run. The left turn of a track like Young and Menace after the double success of their last two albums just solidified the presence that Fall Out Boy are able to do anything, and whilst not everyone’s cup of tea, it definitely solidified the start of a new era for the band.
The albums closer Bishop’s Knife Trick is genuinely one of my favourite tracks the band have ever put out. This really is taking the emotions of classic Fall Out Boy and transforming it into the modern world. Led by a piano and a jangly guitar swirling that psychedelic sound around your head before exploding into a hunk of a chorus, blowing you out into space. The darker tone of the lyrics really bringing out this darker and more mature sound this record tries to rub off on you within its half-hour playtime, it’s just fantastic. The chorus is just addictive and makes you long for the days of concerts where you could scream at the top of your lungs to the songs that got you through your teens. It’s music video being a direct parody of their decade-old song Thnks Fr Th Mmrs‘ video, which I sort of feel is a bit of a detribute to the song because of the abrupt tone of its interruptions, but maybe otherwise it would have come across ‘too deep’ or something who knows.
And that’s it, that’s the album, it’s not particularly long, but it does stick itself out as a solid staple in the band’s discography. Looking back on MANIA I still really like it, if anything over the years I’ve grown fonder of it. There’s a saying people come up with for things like this which is being “ahead of its time” which I’m not quite sure of my position on that, but I do think that MANIA was overshadowed by the high train of radio success Fall Out Boy had in their early days and in the first few years of their comeback. But the band said this was never meant to be a radio album, and how can you stay inspired by churning out the same stuff. People did treat Folie A Deux harshly at the time, but now a decade later it’s considered by many some of their best work. Hell MANIA was nominated for a Grammy, not that Grammy’s really mean anything nowadays, but I think MANIA deserved a better reception than the one it got.
I hope you enjoyed this look back regardless of your stand on the album, and with a lot of albums big birthdays happening this year (from Arctic Monkeys, Blur, The 1975 and many more), do expect more of these to come and let us know of any albums you think we should cover.
21 year old Frances Garrett is a fundamentally fabulous up and coming indie icon. Masqueraded behind the stage name Frances Forever, an ode to the song Francis Forever by indie inspiration Mitski. Anyone who’s anyone has heard their monumental track ‘Space Girl’ which has blown up on TikTok in the last couple months, but their discography is so rich that to only be familiar with the viral hit quite frankly is a crime. If you’re a fan of artists such as Clairo, Sidney Gish and Cavetown, then get ready to add a new favourite artist to your roster.
Since releasing their EP pockets back in 2018, Garrett has made noise and gained acclaim around their own city of Boston, but aptly disturbed the airways all around the world. Hazy dreamscapes, almost touching on slight psychedelic sounds, all in combination to serenade your brain into a high that’s near impossible to get over.
Track 1 from pockets is the crooning cry inside my car, which casually goes through the strains of mental health within young people, tuned to an addictive, upbeat and jolly sounding song. I think it goes to show the strength of an artist to go into depth even if casually, but make their problems a sugary singalong. Art is an expressive form of talent, and to turn your life into a canvas for the world to consume and hopefully relate to, is something that has had a dramatic increase since the digital age of music in the last decade. The quality of meaning and personality that modern artists put into practice is abundant, and Garrett is no exception.
However on the contrary, you have tracks like fuck u, taken from pockets also, which takes the lyrical theme and explores the correlation between the meaning, the lyrics themselves and how a real human would compose themselves when going through those emotion. It’s almost self aware, one of the lyrics being “Because i’m only thinking ’bout you, and only you and only you / I can’t think of anyone but you / The only rhyme in this song rhymes with you and only you” which at first glance would come across as ‘lazy’ songwriting, but you look at the realm of the track and that’s precisely the joke, and it’s actually quite clever really. One thing Garrett has made clear is their stance on the stigma of ‘how to’ write a song, “Something that I hate about music these days is, ‘Oh, you can’t put that lyric in because that’s, like, a joke lyric, that’s not serious music’. I really think that you shouldn’t take yourself too seriously as a songwriter.” Which is something to really think about, if you want to be true, and want your audience to feel comfortable enough to relate to your experiences, then why become somebody you’re not?
Other tracks from Garrett such as the second half of EP pockets, or single FrankensteinWannabe, are just as efficacious as the tracks mentioned above. Garrett’s musical portfolio is wondrous, and I think the only sort of let down is that there isn’t a crazy amount of music to listen to as of yet. But that’s part of the thrill of discovering an artist such as Frances Forever, you get to watch them release more and grow. You as the listener are as much of the process as the songwriter, and so whatever the future holds for Garrett is absolutely boundless. Not to mention the heaps of covers on their official YouTube channel dating all the way back to 2015, which if you’re desperate to hear more from the Boston badass, I cannot quantify how much you should binge through it all. In just December of last year they were signed to MOM+POP, so I think it’s safe to say 2021 could bring a copious amount of content to delight your ears for years to come.
So I think it best to love you and leave you with the track that’s done the world the pleasure of introducing Frances Forever to the global audience of TikTok; Space Girl. But here’s a live version instead, because this past year has been far too unkind to the live music scene. So take this as a reminder of how fantastic and inspiring live performances are, but also to show off the talent of Frances and friends. Keep your eyes on this one, like the route to the Space Girl herself, the only way for Frances Forever is up.
Well somehow we’re at the end of 2020 (yeah happy new year by the way) and what a rollercoaster it has been. Nobody’s year went to plan, and we’ve all been desperate for a better 2021. But looking back on the year, we were treated to a lot of pretty awesome music. So to recap on our favourites, the TWM team have come together to give you our collective record collection, of our favourite albums that 2020 had to offer us.
SONGS FOR THE GENERAL PUBLIC BY THE LEMON TWIGS
Kylie: Let’s dive into my favourite record of the year, shall we? Prior to the album’s release in August, I simply considered myself a casual fan of The Lemon Twigs. As I type this, however, there is a poster hung up high on my wall along with some merch tucked away in my closet. With that in mind, it’s safe to say I completely fell in love after listening to Songs For The General Public (because, well, it’s the truth!). I grew up being surrounded by the roars of the 1970s, so naturally, I have always held a slight preference for that decade of songwriting and musical craftsmanship as a whole. The Lemon Twigs flawlessly introduce that particular flare into the modern age, and they do so in a way that isn’t a copycat, cut-and-paste sound. It’s very distinctly them, and although their influences may shine through every now and then, it’s still The Lemon Twigs. Songs For The General Public is nothing short of brilliance; each and every track is a work of art. I still have trouble deciding my favourite song off of this record, but because I want every single person reading this to give it a full listen, here are three recommendations: Nobody Holds You (Closer Than The One You Haven’t Met), Fight, and Moon. Thank me later.
Liam: Somehow managing to channel Bowie’s ghost, Declan McKenna managed to drop one of the best albums I’ve heard in a long time, definitely my favourite record of the year. An album with no filler and some killer songwriting. If you thought What Do You Think About The Car? was good, your mind will be blown upon hearing track one of Zeros. Upon its release I could not stop listening to it, other albums popped up here and there but this album for me was an instant hit, Declan felt unstoppable. Pure indie pop production that made the hits POP out. Declan’s voice solidly grown since the last record, the voice cracks replaced with raspy belts and shouts that somehow envoke more anger and frustration from the social commentary of the last album somehow. Hit by a plague of a year, this album shone a light through the darkness for all to see.
K: And well if I were to sum up this record in just a few words, I’d probably say something along the lines of thrilling, electrifying, and powerful. Zeros is an absolute explosion of an album. As you make your way through the tracklist, you are thwarted deeper and deeper into the alternate universe Declan has created, though, you may eventually find that it isn’t too far off from our own. Using his music to cast a spotlight on important world issues, Declan isn’t a stranger to political music. His debut album, What Do You Think About The Car?, led to many labelling Declan as a political musician due to the album’s strong messages and ideas. Although he doesn’t want to trap himself in one box when it comes to songwriting, Zeros emphasizes the importance of a variety of issues in a more intricate, storytelling fashion. Focusing on environmental issues, abuse of power, and the ever-looming fear of the unknown, Declan McKenna’s sophomore album is certainly one to remember.
L: The Archer was a phenomenal album from Portland singer-songwriter Alexandra Savior. Completely rounding her sound previously crafted from her first LP Belladonna Of Sadness, but this time completely on her own without the help of Alex Turner. With the pressure of losing her record deal, manager and writing the entire album on her own, this almost gateway of freedom allowed Savior to explore her sound and the ways she could fine-tune it to become The Archer. Being finished all the way back in 2018, after the label struggles, her prowess was seen by 30th Century Records, and in January she dropped her most ambitious work to date. The Archer makes you feel as if your life is a movie, and God herself has decided to write the soundtrack. Alexandra Savior’s latest effort is the effect of slowing down time during an adrenaline rush, a complete pipe dream that blends to your skin.
Aimee: The moment I first listened to Belladonna Of Sadness I knew that Alexandra Savior was something special. She delivered such a well-executed record with real conviction, but as mentioned by Liam, her 2020 release The Archer truly hits the target. This time lighter and cloaked with a haze of mist, her second record is enough of a departure to keep things fresh but still contains that cinematic wonder we already loved her for. She really hones that trade-mark sound whilst using it to show a different side; where a greater sense of vulnerability is present (but still backed by that strong attitude and spirit rooted within). The Archer effortlessly sweeps you away on a journey as personal as creating it was to Savior. A perfect experience for entering a new year; the LP gives you what feels like endless time and space to reminisce and reflect on feelings that have washed over or hit hard and even dream about what is to come.
A:Ultra Mono was the first album that I wrote about for TWM and what an album it is; loud, gutsy and in your face (exactly what a record from Idles should be). It kicked off my journey here with a bang, their transitional tracks and brash beating sound a sure-fire way of supplying a bolt of energy to any listener. Sticking true to their guns, there’s no shying away from divisive topics with bold declarations; delivered via lyrics that paint a picture with each line. The Bristol band have proven their strength from the start but have definitely evolved record to record with this third being their most diverse yet. The LP is not only charged and weighty but also flexes their abilities to produce a softer sound at times (see: ‘A Hymn’), as well as having some fun with cheeky digs and quick-witted lines (‘Grounds’). Ultra Mono couldn’t have come at a better time; never shying away from harsh truths and providing a great dose of motivation, it was one hell of a record to help us through one of the strangest years imaginable. I’m sure it will see us through whatever is heading our way next too.
James: I think it’s very much true that punk is BACK IN and my god how good it feels to see a record like Ultra Mono become so adored by music lovers. As my dad asked me yesterday with a tear in his eye ‘your generation are listening to punk again?’ Yes, dad, Ultra Mono is certainly paving the way for a generation of new bands and a bit of kick-ass music is exactly what last year needed to see us through to the end. It’s the album which first brought IDLES to my attention and something tells me I’ll be buying their records for a long time to come now.
K: I can vividly remember what I was doing and where I was at when Kevin Parker announced last year that a new album was on the horizon. I swore that this was a sign that 2020 was about to be incredible; I mean, a new Tame album after five years? Pinch me.
Yikes.
Even though we are all well aware of the fact that the year turned out to be a giant catastrophe, The Slow Rush gave us one last treat before the world flipped upside down. I can confidently say that it was well worth the wait, and although I’m still mourning the fact that I was meant to catch a show this year, I’m even more confident that the live shows will be just as worth it. With tracks like “Lost in Yesterday,” “Instant Destiny,” and “Breathe Deeper,” it’d be criminal to not include this record on any “Best of 2020” list. Everything Tame Impala puts out is the musical manifestation of magic, and The Slow Rush is certainly no exception.
L: Exactly, five years after the release of Currents and Kevin Parker drops The Slow Rush? Damn. A record like Currents is hard to top, but Parker definitely gave us his all. This album for me was probably the most prevalent LP throughout the year. With some albums, you get lost in the hype and after 3 months of non-stop exposure to it, you suddenly find yourself distant from it, having moved onto the next big release. But The Slow Rush was different. Different tracks growing on me and becoming my next favourite off the album, right from it’s release in February, to only a couple weeks ago upon me grabbing a vinyl copy and hearing it again in a whole new light. 5 years worth of inspiration, experience and production has given us some of the most solid producing Parker has given us yet. The Slow Rush was a good summary for this year, and for me, really helped me get through this challenge. Hearing track 1, One More Year hits differently now, and I think this entire album will now for the rest of my life.
L: Donald Glover’s fourth studio album 3.15.20 came out of nowhere, but then seemed to slip under the radar a smidge too. Being released just days before the first national lockdown here in the UK, perhaps people’s minds were far too spaced out to fully notice and appreciate it. Which is a massive shame because it’s actually a really good record. If you’re expecting Because The Internet 2.0 or Awaken My Love the sequel then you’ll be disappointed, but if you’ve been liking the latest ventures from Childish Gambino like This Is America and Feels Like Summer you’ll be in for a treat, especially with Feels Like Summer making the cut onto the record. With features from Ariana Grande to 21 Savage and more, the album flows completely seamlessly, with each track transitioning into the next. Each track apart from 2 exceptions are unnamed, each entitled with the timestamp that each respective track starts during the LP. What this does though, is in a modern world where the consumption of singles has almost completely thrashed the album playthrough out of the park, it makes you listen to this whole album through and through, and appreciate all 57 minutes of it from start to finish. And with it being a bit of a hidden gem at the minute, you can bet you’ll find some tracks you wish you’d have known sooner.
K: Bliss. Pure, bona fide bliss. Katy J Pearson is an absolute gift of a musician, and her debut album as a solo artist, Return, marks the beginning of a luminescent new chapter for the young singer. This record is a peaceful spring afternoon, swinging in a hammock, book in hand…
Alright, alright I’m back; I got a bit lost in my own metaphor. Words cannot accurately express my love for this record enough. I am completely infatuated with every single aspect of it, and as soon as I heard it for the first time, I texted just about everyone I know about this beautiful songstress. I even wrote a piece on her, which you can check out here (wink, wink). This record quickly became a top pick for me before I even finished it in its entirety, and I genuinely cannot wait to see what else is in store. Do yourselves a favour, stop what you’re doing, and give Katy J Pearson a listen—you will not regret it.
L: Thundercat’s fourth studio album It Is What It Is was a smash in the ballpark for the Californian singer and bassist. Smooth soul-infused funk to serenade you through whatever your day may bring you. There’s no denying the talent within this man, the things he plays and sings over at the same time were always complex and beautiful, but his 2020 effort surpassed expectations. Featuring artists such as Steve Lacy, Childish Gambino, Louis Cole and Steve Arrington, the album certainly knows how to catch your ears and dig in deep to your soul. This record goes through a lot of emotions but in typical Thundercat fashion, it’s humorous, and that little element of realism helps ground this artistically wonderful collection of music, to the real world. It’s heaven don’t get me wrong, but it’s heaven with a sign with your name on it.
J: Just when you thought Fontaines D.C. couldn’t top their debut album Dogrel (2019), in 2020, they came through with perhaps the most anticipated and most incredible follow-up album since Joy Division’s Closer. I’ve said it before, and I’ll say it again, Fontaines D.C. will likely be remembered as one of the best underground post-punk bands of their generation. They may not have been able to tour the album extensively this year, however, but it’s by no means hindered the response from fans. We can’t wait to see them put on a show with the songs from their second LP once venues reopen. Instead of touring, the band have been hard at work on the excellent live sessions which premiered on their YouTube channel. The sessions are truly the closest I’ve felt to the excitement and atmosphere of a live gig all year.
L: Yeah I mean I’ll be honest when this album dropped I didn’t really think it had much of a lasting impression on me. But over the weeks I noticed myself coming back to it, over and over. Tracks such as I Don’t Belong and the title track A Hero’s Death completely dominating my months’ playlists at times. After thoroughly enjoying Dogrel, it was 2020s A Hero’s Death that solidified me as a fan of Fontaines D.C.
L: The wild ride of The 1975s fourth album was not an easy one, for fans or the band. After having to delay the album multiple times, and then a global pandemic cancelling the entire tour beyond rescheduling. Notes On A Condition Form was a long, coherently messy (if that’s a term we can all get behind) album, and that’s not to knock it, I love how diverse the album is. I know I said this about The Slow Rush but I think within the context of 2020 and isolation, this album really did feel connected to my soul when it was released. Somehow encapsulating almost every anxiety and pleasure that you could go through during this heartache of a year. Lyrically perhaps some of Matty’s most personal delves into his mind, but so intrusively relevant into mine as well. It’s one of those records that listening back to, you’ll never really separate it’s universe to the year it happened to collide with, but in the years to come, perhaps that’s something good. A retrospective of the worst, and a reminder that even in the darkest of times, we can pull through anything.
K: Alright, I may be a bit biased here considering The 1975 is my favourite modern band, but this is without a doubt one of my top records of the year. NOACF is new territory for the band, experimenting with different sounds, styles, and genres, and the end result is otherworldly. I listened to the entire album as soon as it dropped at midnight, and I was on the phone with my friend since we couldn’t be together to hear it. It was truly such a magical, unforgettable experience; it was a few months into the madness of the pandemic, and although we were separated, this album helped us feel connected again. Without trying to get too sappy here, this album has undeniably been a rock for me throughout the year. I absolutely adore every single song on NOACF, and I have my fingers crossed that I’ll be able to hear them live sooner than expected.
L: Nothing But Thieves latest outing certainly packs a punch. The typical RnB inspired rockers have gone at it again, this time with an emphasis on electronic music that really nails a new sound for the band, whilst staying true to their roots. It’s this kind of innovation that’s saving rock and roll. Moral Panic is an album written before Covid times but somehow completely gets the struggles and issues we’ve faced this year. I don’t know if that’s supposed to be comforting or not as a social commentary. But whatever the case, it makes for an integral listen for those who’ve simply had enough of the nightmare that has been 2020. Moral Panic is setting in, and Nothing But Thieves are not gonna let that slide. This is a rock record where the guitars are amped up to groove with you. If rock decided to start up a disco, this is what they’d play first. Another album that rounds up those 2020 vibes but in a way that you can dance your cares away in your living room.
J: In a year which felt like the world was falling apart and had everyone shaking their head at the thought of four more years of Trump, Run The Jewels sucker-punched the world with their highly anticipated fourth album. Like each of their albums before this, the record is a frustration driven rave in your pocket from beginning to end. The angst of a generation poured into one great record. In response to some of the year’s events which woke up the world; the killing of George Floyd and the Black Lives Matter protests which followed, RTJ4 makes good on the promise of keeping that flame alive with an important collaboration of phenomenal hip-hop artists. Along with Pharrell Williams, DJ Premier, desert rock legend Josh Homme and many more, RTJ4 is a library of fight songs to take the momentum built this year into the next.
L: Speaking of Mr Homme as a big fan of his work, upon hearing he co-produced the album I just had to listen to it, and I was pleasantly surprised that the album sounded nothing like any of his typical work. I wouldn’t have known he had anything to do with the album had it not been for the beauty of Wikipedia and word of mouth. But Homme aside, all that meant was I discovered RTJ4 and really dug the grooves this record had on offer. With pulling the pin being my personal highlight, the entire album was just such a wonderful avert of my expectations going into it completely blind, which was such a blissful feeling because nowadays it’s damn near impossible to do that. But the payoff was well worth it and discovering Run The Jewels was something brilliant.
L: Mura Masa’s second album was a change of tone from their first musical venture. R.Y.C becomes this millennial outcry. Being young in the 21st century is no easy feat, but R.Y.C is an album that encapsulates all the rage of being a young adult in 2020. Being this more guitar-driven, sugar-coated, slacker, indie/folk/pop combine harvest, there’s little here to not relate to. Alexander Crossan’s vocals really hit home here, completely humanizing the angst and fear of modernity. But he’s got help all over the album, with features from Clairo, Slowthai, Ellie Rowsell of Wolf Alice, Georgia and many more. All within that young adult bracket, so the roots of this record dig really deep into every performance. Going from the blissful calmic a meeting at an oak tree Featuring Ned Green to the angry demoralisation of Deal Wiv It Featuring Slowthai, possibly the highlight of the whole album, talking about the harsh reality of gentrification and the changes of the modern world that sticks out like an upright nail in a game of heads down thumbs up. A shout for attention that’s completely and utterly deserved. This entire album goes through the ropes as the soundtrack of a coming of age film for the modern sadboi, but trust me, it’s completely worth the experience of listening all the way through.
And so here we are at the end of our collection. Out of all the albums we loved throughout the year, there was just one that we all loved and felt like it deserved the spotlight.
Before we get onto why we love this album so much, all of us at TWM would like to thank you for your support over our magazine. We absolutely love sharing new music with you, and we’ve got a lot more in store for this new year.
So if you only take just one record from this list, we can all safely say this is a safe bet to go with.
WORKING MEN’S CLUB BY WORKING MEN’S CLUB
K: Stumbling upon this group felt like unearthing pure gold. Working Men’s Club is absolutely hypnotic, and at times, it’s hard to believe this record isn’t a hidden gem from the 80s or 90s. As we all know, 2020 was the year of distance and isolation, but this record massively helps with making you feel like you’re on a night out despite staying at home in your pyjamas while desperately trying to figure out what day of the week it is. Aside from the mesmerizing, addictive beats, the songwriting is just as brilliant (“Cook a Coffee,” anyone?). There is an abundance of genius within this album, and considering the fact that this is just their debut, Working Men’s Club are well on their way to becoming something incredibly special.
L: I remember when Aimee’s article on them went live and just being in awe and genuine hype upon hearing Valleys. All that craving for 80s New Wave, Dance and Electronica soundscape that I genuinely don’t think I’ve heard since the likes of New Order. I love it when bands today hark back to the days of the Hacienda, but no band I think has ever managed to dissect the core of that music, translate it into the modern-day so perfectly but still remaining so presently 80s. It’s nostalgic and futuristic at the same time. For a bands debut album, you really can’t get much better than this.
A: Nothing’s ever held me in more of a trance than when I first experienced Working Men’s Club’s eponymous debut record. Growing up in Manchester, grey, drizzly days spent wandering around the city would heavily feature daydreams of imagining what it was like back in the 80s and 90s. This album is as if somebody read my mind and wrote a soundtrack to accompany them. I was so excited to find something individual and new that simultaneously felt familiar in the best of ways; it felt like the record I could only ever wish for. Ever since that came true, I’ve spent a lot of time with it on repeat and my love hasn’t once wavered. Whether I talk to someone who was also lucky enough to stumble upon the LP like myself or insisted that family and friends listen, everyone who hears is in undeniable agreement on just how good it is. You can’t help but feel psyched up and ready to rave which is exactly what we needed to get through 2020 and will surely help us kick start the new year and look forward to a future with more music from Working Men’s Club.
J: Too right about being transported back to 80s Manchester, you don’t need to have grown up in the golden era to crave dancing in a sweaty nightclub while listening to any of their brilliant songs. Watching this music video makes me miss those late nights with friends, in music terms, it’s about as close to an antidote for the boredom 2020 brought as we could get. These are songs not just for the younger generation, but something about the Working Men’s Club sound seems to entice almost anyone who listens. If you played this at Christmas I guarantee your nan would be up on her feet too. For Working Men’s Club, this is only just the beginning… 2021 awaits. If there’s anything you take away from this list, get yourself a copy of this album.
Goodness is it Christmas already? Christ (no pun intended) but I haven’t even done all my Christmas shopping. Oh well, it’s that time of year again. I know I say this every year but it feels it were only yesterday we were celebrating Christmas, but blimey 2020 has been a bit of a mad one hasn’t it? Christmas, being a time of giving and celebration motivated me to think of the different festive tracks that help bring us all together, filled with nostalgia and the smell of spice in the air. So join me as I go through my top 15 Christmas Songs.
15. Stop The Calvary – Jona Lewie
It’s one of those songs that just makes Christmas. From the synths that carry the song, the brass section’s hook to the bells. Although never intended as a Christmas song, Lewie stating it was meant as a protest song, and in some regions, it was released in Springtime as opposed to the festive season here in the UK. But the timing, the what we’d now call Christmas sounding instrumentation and of course the classic line “Wish I could be home for Christmas”, has inadvertently made Lewie’s song a Christmas classic.
14. Christmas Time (Don’t Let The Bells End) – The Darkness
I think The Darkness get a bit of a bad rep of being that strange cheesy 00’s band that Liam Gallagher dissed a bit. But all the same, I think they’re a lot of people’s guilty pleasures, and the tunes people like? People sure as hell love. The comedic tone, Justin Hawkin’s famous falsettos and just being an overall feel-good song for the festive season, makes it one that maybe not everyone needs to have on their playlists this time of year, but it’s one that has a special place in my heart for just being utterly ridiculous, but bangs nevertheless.
13. Peace On Earth / The Little Drummer Boy – Bing Crosby and David Bowie
Taking things a bit slower this time around, this tune was debuted on Crosby’s television special, ‘Bing Crosby’s Merrie Olde Christmas’. The colliding worlds of Crosby and Bowie at this time was something of a shock to people. At the time, Bowie was trying to ‘normalise’ his career, and actively stated he hated The Little Drummer Boy song, which led to him asking if he could sing something else leading to the now surreal collaboration and iconic Christmas song. And I mean come on, combining the undeniable Christmas aura of Crosby with the Man who fell to Earth himself, just screams out its magnificence.
Keeping with the slower mood here, Driving Home For Christmas is a song most people adore for that moment with the family when the drinks are starting to run low and the energy needs a little break, that we all take a breather to sway our heads. It’s like if Christmas suddenly became an elevator, this is the song that would play inside it. It’s quite poignant today with the hard times we’re all faced with. A lot of people who were looking forward to driving home for Christmas can’t anymore. So for now, join me in listening to this, with a glass in hand. Here’s to a future where we can all get together and celebrate with each other, for the best Christmases yet to come.
11. Christmas Time Is Here – Vince Guaraldi Trio (From A Charlie Brown Christmas)
Yeah, this is a very unconventional one to have on the list I know. But Charlie Brown has been very present since my childhood. My mum was a big advocate of ‘get your kids into the same stuff you were into as a kid’. Big vibe tho. This song, despite sounding very melancholy, it feels so warm. It makes you want to cosy up by the fireside for the favourite time of year. Christmas to me has two sides. The crazy go all-out party filled with joy and love, and the softer watch the snowfall out the window, with this song emoting the latter. It’s not one to dance to, but not every festive tune needs to be. Sometimes in the abundance of commercialization, something more genuine that helps appreciate what Christmas time is really all about.
Kicking a bit of life back into the tunes. I mean you can never go wrong with Elton, can you? The flamboyant ecstasy of his music, the way his range swings up and down evoking this addictive danceable hit that you just end up craving more and more every time you hear it. Sometimes feeling a little goofy, but fun and wonderful all the same. Something remarkable to note about the song is that it was written intended as a thank you to fans due to the success Elton had gained in 1972. Written on a Sunday morning and recorded that very evening! That’s pretty good, even for our lad Elton, so cheers Rocket Man.
A classic. We all know it, we all know what it’s for, the impact it had and the legacy it carries. It’s never been topped by its anniversary versions, but that’s why the original is such a corker. It was never the immediate catchy pop hook to give your brain a high and then leave you alone till next year, but it feels like part of that was the intention. When writing a song about the Ethiopian famine crisis of the time, getting a message across is important. Do They Know It’s Christmas? is the kind of song where upon first listen, it begs you to start wondering, just what on earth is all this about? Which is how even after the efforts of Band Aid, and after that fateful Christmas in 1984. Do They Know It’s Christmas? remains a classic, all years round.
Now, not the most conventional Christmas song on the list no, but in my house, Christmas time wouldn’t be complete without hearing this. Something about the trumpets at the start taking you back to Doctor Who Christmas specials. The emotive joy of Christmas colliding with the indie rock of the late 00s Wombats sound feels so nostalgic yet fresh, it’s a vibe that I don’t think can be really described, listen to the song yourself and see. Even if it’s not a classic from wherever you are, for me, it deserves a top spot in the best Christmas songs around. It’s unbelievably addictive and brings me so much joy.
7. I Wish It Could Be Christmas Everyday – Wizzard
Just try and be a Scrooge when this song is playing, I dare you. It’s one of those o’ so nostalgic tracks that does completely make you feel like a kid again. That innocence of the world and all the joys it can bring. You know when there isn’t a global pandemic going on… But you know, forget all that, this song is just brilliant. It’s one of the most danceable ones and for that, it makes for a perfect song to put on at every Christmas party and festive sing-a-long.
Yeah alright I know, I know. Not really a Christmas song, not even the go-to song if you’re even thinking about the Beach Boys. But for me, this has become an absolute Christmas classic. Ever since hearing it in the festive film Love Actually, the complete and utter association with the Christmas period has made it and Christmas, fantastically inseparable. Although originally a B-Side, there’s just something about this song that makes it such a cute and wholesome track to hear regardless of the lyrical content, the instrumentation matches the words in a peculiar way and it’s just so lovely. It also happens to be one of Paul McCartney’s favourite songs, and if a Beatle says your song is their favourite, you’ve clearly written something gold.
And well speaking of McCartney, I mean you knew it had to be on this list somewhere right? It’s just such a feel-good festive bop. The delayed synths, the choirs, the ding dong ding dongs, everything about this song screams get up and dance like it’s the best Christmas party in town and I LOVE IT. There is also something incredibly nostalgic about this one especially, perhaps just hearing Paul McCartney’s voice is what does it, but whatever it really is, it makes for one of the catchiest Christmas tunes around, and one that definitely isn’t going anywhere, asides from in our ears.
4. Happy Xmas (War Is Over) – John Lennon and Yoko Ono
This was hard to put forward more than McCartney’s Christmas outing, but I think people generally would say this is a genuine classic, and the depth of the lyrics also make for a somewhat reflective and loving perspective when listening. And because of that, it’s one of the few Christmas songs that actually get the real heartwarming message of Christmas through. Not thinking about the presents or the gigantic meals we all decide we’ll consume on one day of the year, but about the people around you, family, friends and the people all around the world. As perhaps THE pioneer of peace and love, it’s no surprise that John Lennon was able to write one of the best Christmas songs, that stays relevant almost 50 years later.
Before I do go onto my top 3 I would like to give a shout out to a few honorable mentions. Partly because I love some and I just couldn’t add them to an already big list, and partly because if I don’t mention them now, I really will get absolutely slandered by everyone. But very quickly let’s not forget;
What’s This? – Danny Elfman (From The Nightmare Before Christmas), Winter Wonderland – Bing Crosby, Proper Crimbo – Bo Selecta, Walking In The Air – Peter Auty (From The Snowman), Yule Shoot Your Eye Out – Fall Out Boy, Merry Christmas Everyone – Shakin’ Stevens, Don’t Shoot Me Santa – The Killers, White Christmas – Bing Crosby, All I Want For Christmas Is You – Mariah Carey
But now, onto the Top Three.
3, Merry Xmas Everybody – Slade
Who doesn’t like Slade’s slapper of a song? Whether you’re nostalgic for the days of old, where Christmas was slightly less commercialised, or from it being almost the only song guaranteed to be in Doctor Who Christmas specials. I think this was possibly the first Christmas song I ever actually enjoyed, makes me sound like a real young Scrooge, but this was a Christmas song that ROCKED, and 6 year old me couldn’t get enough of that. Arguably one of the catchiest and memorable songs for the festive period, it always gets stuck in my head when I hear it, making me go back to listen to it more, which as marketing tactics go, it works a treat.
Fairytale of New York is a song that sounds magical. And Irish. Very very Irish. But it’s that combination that makes it a resounding classic. From the controversy of the lyrics to the belter of a sing-a-long chorus, the fairytale instrumentation clashed with the brutally harsh lyrics force this track to stand out like a sore thumb amongst the Christmas catalogue, but it does wonderous favours for it. Everyone I know seems to agree this is one of the best Christmas songs and it’s abundantly evident why.
Well, let’s be honest, if by the time we hit number 2 and you didn’t see Wham! coming, then you clearly don’t know Christmas well enough. Maybe that’s bold to say… But I’m sticking with it. I mean it’s the perfect song. Catchy, not overly Christmas sounding meaning if you find yourself listening to it in the middle of summer you don’t feel too guilty and can listen to the whole song. Last Christmas is just THE definitive Christmas song to me, it sounds magical, it sounds 80s, but all the same, it sounds completely timeless. And not to mention the absolute incredible restoration of the original film to make a 4K remaster of the music video.
Well there we have it, all 15 of my favourite Christmas songs. But what did you think? Let us know what YOUR favourite Christmas songs are. But above all, in the hard times that we’re all in, whatever you’re celebrating, have a wonderful festive period and a fantastic new year. Here’s to 2021, and a future of togetherness.
Meet Jessica Smyth, better known as Biig Piig. Born in Ireland, brought up in Spain and now based in good ol’ London town, the neo-soul/hip hop singer has been gaining traction over the last couple of years with her silky smooth tracks and emotionally in-depth lyrics, taking inspiration from classical folk Irish music, Latin Jazz to modern indie and hip hop. But with that all in mind, you can’t hold Smyth’s music to just one style, I mean how could you with that diverse a range of inspiration? But her vibe is complete chill, as if you’ve stumbled into a run-down bar with the local jazz band pulling you in.
Smyth grew up in Spain and spent a lot of time in the Irish pub her parents owned there. Growing up around a pub setting definitely shapes you differently, as stated by Smyth before “I think you learn a lot about people when you’re surrounded by adults a lot of the time, they don’t treat you like a kid. Maybe that’s where the writing came from when I was younger.” And from living in Spain for so long, you start to learn the language which is where Biig Piig’s music gets interesting. Not only does deep classical Spanish music flourish throughout her work, but also slipping into the Spanish tongue giving her music this double-sided feel that’s irresistible.
Biig Piig’s first single was dropped back in 2017 on Soundcloud, but that caught the attention of COLORS, who gave her a spotlight at their Berlin studios, helping her soon-to-be-fans find her sensual songs. Fast forward a year, and she released her debut EP ‘Big Fan of the Sesh, Vol. 1’ Further answering to the deserved hype and solidifying her fanbase. Tracks such as ‘Dinner’s Getting Cold Ft. Mac Wetha’, ‘Perdida’ and Flirt’ really demonstrated the talent Smyth has; lo-fi beats with velvet-like vocals to shatter dimensions.
Upon meeting Mac Wetha at sixth form after moving to London, the two have become good friends and regular collaborators within her own music and with their DIY Art Collective NiNE8. ‘A World Without Snooze, Vol. 2’ was released in 2019 and whisks you away to that special place in your mind where you can breathe easy and relax.
The track ‘Vete’ caught a lot of attention from the expansion of the smooth sound incorporating a cheeky bit of Sax to really hone in that chill Jazzy vibe. And thus Smyth signed to RCA Records, then immediately starting work on the final instalment to the trilogy. In November that year, she dropped ‘No Place For Patience, Vol. 3’.
Really perfecting her sound here, it feels as if the journey had really taken you somewhere. The production of the song ties every little nook and cranny together into this ear-melting sound. Roses and Gold kicks off the EP, introducing some funky slap bass to shake things up whilst staying inside the proverbial box. Smyth does new things here but nothing feels out of place. ‘Lie to Me’ closes the EP and shows off some of the complexity to her lyrics; “I don’t wanna go, but this heart ain’t a home / Peace of mind, my peace is fucked. lucking out when he won’t listen / Risking trust to prove a point”. Smyth somehow just has this immense control of singing (in both English and Spanish) with such depth and on the flick of a switch completely nails these free flow rap verses which blend with her sound so perfectly.
Earlier this year, Biig Piig treated us to her political commentary of the 2019 snap election; ‘Switch’ which is a fitting title. This is a Biig switch indeed from her earlier work, fast-paced, angrier and with more drum ‘n’ bass inspiration. Smyth has said “I thought when I was writing it that it was about a relationship, but then I was like actually nah, it definitely isn’t. It’s that same hate but just for something else.” Switch is the kind of left turn an artist needs to take after solidifying their sound from 3 EPs worth of material. The track goes out of bounds but still suits Smyth’s voice, like something was suddenly realised inside her mind. The content of the song definitely needed a more prominent sound, so it all compliments each other ridiculously well really.
‘Don’t Turn Around’ was dropped in July this year and samples Love for the Sake of Love by Claudia Barry, more commonly known from being sampled in Montell Jordan’s Get It On Tonite. You may also recognize the directing style in the music video and you’d be onto something, frequent Beabadoobee video collaborator ‘Bedroom’ directed the song’s video, complimenting the sound of the track with a rich visual paradigm. Once again showing off her flow with some insanely catchy rap verses, bookended by delightful vocal hooks in the chorus. Lyrically being quite a jam-packed song as you’d expect with rap verses, but really shoving that emotion into the listener in a really exciting way. Smyth spoke about the song, saying it’s “my post-breakup, pre glow up tune. Finally getting to confidence through self-love and letting go of toxic relationships”. All we can take from it is that it’s such a good song and Biig Piig’s artistry really shaped it into something new and refreshing, leaving us with open arms for whatever her next outing may be.
Biig Piig is someone who needs no real introduction, just an open mind and a good pair of ears because no matter what the Irish-Espanol singer dishes out, it’s no doubt to be something that gets you hooked. In fact, Clairo and Billie Eilish have proudly announced themselves as fans, so why not join them? For once I can safely say that it’s right to believe the hype.
Like what you hear? Check out Biig Piig’s latest release and double single ‘Oh No / Liarh’ on Spotify.
Gifted with a velvet voice that will make you swoon, lyricism to rival great literature and a ‘Mystery Girl’ aura that helplessly lures you in, Alexandra Savior is an enigmatic force to be reckoned with.
Not only a talented creative musically, she utilises her artistic capabilities to the full, bringing a personal touch to all elements of her work. Each of her aesthetic music videos that perfectly accompany her chilling tracks is self-directed and she even designs her own album covers and merchandise. Overall, she creates a coherent experience and is certainly proving that she really is a ‘Savior’ to modern female rock.
Born and raised in Portland Oregon as Alexandra Savior McDermott the 25-year-old immediately showed musical promise and received her first wave of attention at the age of just 17 when Courtney Love proclaimed “This girl is gonna be huge!”. Love clearly wasn’t the only one who thought highly of her as the following year a bidding war between labels started; with Columbia Records eventually snapping her up. Upon the deal, Savior moved out to Los Angeles and although she admits that she didn’t feel fully prepared at the time she evidently came into her own as this doesn’t show in her precise work produced out there.
This flourishing development was partly thanks to Arctic Monkeys frontman Alex Turner because fortunately, rather than someone pushing her in the direction of ‘Katy Perry’ like many labels intended she had the modern-day rock icon around to keep her on the right track. A huge supporter from the get-go, Turner first suggested she drop her last name and go by her middle instead, doubling the impact after initially giving the stage name Alexandra Semitone a shot.
In addition to helping her settle on a pseudonym, he also brought his well-known wit and wordplay to the table as a co-writer, as well as joining forces with his frequent collaborator James Ford to produce Savior’s debut record ‘Belladonna of Sadness’. Make no mistake though; this isn’t Alexandra Turner. Savior is one hundred per cent her own artist and had Alex collaborated with anyone other than the rising star an album couldn’t possibly come close.
Dark and brooding, Savior’s first LP was released in 2018 and chills you to your ‘Bones’ with rich, murderous tones but also has a ‘Girlie’ touch from its sweeter melodic notes. Thanks to elements such as her stand-out smokey voice; even backed with faint screams and wicked laughs on tracks like M.T.M.E to spooky organs, thudding drum beats and shredding guitars she creates an eerie cinematic aesthetic reminiscent of glamorous old Hollywood with a desert twist.
Influences she cites seep their way into tracks, with a prominent example being the late great Amy Winehouse whose characteristics are not only present in the soul Savior sings with but also her strong stance and powerful attitude on songs like Shades, as well as Jack White whose essence is felt in the American ‘Rock n Roll’ grit of the bluesy instrumentals. She also takes inspiration from outside the realm of music with comedy legend and filmmaker Terry Gilliam being a creative influence that not only reveals itself in her artsy music videos but also in the lyrical magic delivered by her haunting vocals.
Proving that she can paint a picture in more ways than one, vivid imagery is evoked in all songs with lyrics like ‘Dress me like the front of a casino, push me down another rabbit hole, touch me like I’m gonna turn to gold’ standing out in opening track Mirage. Alongside Turner, she projected her own feelings onto stories and characters, displayed beautifully in Girlie; the analysis of females trying to make it in the industry featuring lines like ‘Until her eyeballs start to bleed, she don’t wanna go to sleep’ and in Mystery Girl’s tale of infidelity singing ‘Hush now, don’t explain. Wound up with a heavier heart, from waiting in the rain’.
Belladonna of Sadness truly provides listeners with a whole world. Even songs that didn’t make the cut such as ‘Miracle Aligner’ now best known for being recorded by Turner and Miles Kane as The Last Shadow Puppets are packed with a punch but the perfect tracks were chosen; all piecing together to create a dark dream that you’ll never want to awaken from.
At the beginning of this year, Savior followed up ‘Belladonna’ with the release of sophomore album ‘The Archer’ and although she found such a distinctive style with her first album, it was exciting to hear that she didn’t play it safe and stick to the same recipe (despite it being devoured by many). Instead, she delivers a heart-break fantasy that hypnotises you into floating along on her fresh journey, with the darker side only creeping in rather than being at the forefront.
An even more personal endeavour that her first, Savior was truly left to her own devices for this record after being dropped from Columbia, her manager quitting and receiving no aid from Alex Turner. None of this held her back though and only resulted in an album that’s soaked in assertive independence and is every bit her own.
Opening with a melancholic piano solo and heartfelt words she embraces the title of the track ‘Soft Currents’ throughout, delivering more vulnerable emotion in songs like this and The Archer. As a whole, it feels more of a woozy, gentle daydream in comparison to the dangerous vibes radiated previously but as mentioned, the darkness lurks. Harkening back to the ‘Belladonna of Sadness’ days are the thick riffs and thumping rhythm of Saving Grace and the suave single Howl with its strong synth and delivery. In addition to this, she further boasts her range by delivering a tune made for the likes of Mad Men with Send Her Back featuring a wonderful big brass intro and even takes you to the seaside with the beach swept Can’t Help Myself.
Although the overall direction is a departure, the key elements that make a Savior track remain. She doesn’t disappoint on effortlessly cool sounds, oozing vocals and of course those lyrics such as ‘The wilted edge of a lonesome mattress, I lay my head there until the feeling passes. It’s sinking in just as time relapses’ that I ‘Can’t Help Myself’ from quoting.
Although she might seem like an impossible ‘Mirage’, Alexandra Savior is as real as ever. So, if you’re looking for some dreamy desert rock, the perfect revenge soundtrack or spooky psychedelic pop then she really is the ‘Saving Grace’ that you’re looking for.
Evoking space-age dreams with their bright bops, The Orielles are a funky fresh band that you absolutely need to be listening to. In fact, scrap that. I’d say the word ‘experiencing’ is far more apt than simply ‘listening’ as their tracks are so engrossing, they’re a vessel for escaping reality…
Taking you on an adventure through the decades they stop off in the bright psychedelic 60s, have a boogie in the 70s and even a cheeky trip to explore 90s acid house, as well as blasting forward into another time and dimension with their futuristic synth sounds.
It’s no wonder that Heavenly Recordings; the same label boasting talent we love from Saint Etienne to Working Men’s Club, have these guys added to their fantastic roster. The Orielles boast the sweetest sounding melodies since Sarah Cracknell and a perfect balance of modern and classic just like WMC, whilst keeping everything uniquely their own; ticking all of the boxes for another Heavenly band destined for greatness.
The group consists of sisters Esmé Dee Hand-Halford on lead vocals/ bass and Sidonie B Hand-Halford on drums alongside friends Alex Stephens on Keys and Henry Carlyle Wade on guitar and backing vocals (providing a deeper undertone to Esmé’s gentle singing approach). Hailing from Yorkshire, they’ve been putting out singles since 2015 which really helped them to gauge direction before releasing debut album ‘Silver Dollar Moment’ in 2018.
Vibrant and charming, their first LP stands out in the sea of standard indie. Their key to doing so appears to be teasing you with that familiar formula we’re so accustomed to hearing but giving it a twist; thus subverting your expectations. Take Sunflower Seeds, for example, kicking off with a strong and cheery riff followed by thumping drum beats, it instantly captures your attention (in a way that almost seems too good to be true). However, it doesn’t stay linear and instead fades into a slow psychedelic squish that bands like Post Animal would be proud of, flipping the happy-go-lucky intro on its head.
They further prove their capability of making their mark on things by not only giving you brit-pop dreams like Mango but also more mellow notes in the laid back Liminal Spaces. As well as this, they also display great lyricism inspired by life, literature and philosophy on their tracks, with an abundance of stand-out lines on Henry’s Pocket. A song about trying to start afresh but being trapped by the past, it features vivid lines like “Trying to eat a moment and regurgitate it back up like you used to. We just hang in a web connecting us to past, present and future”.
Silver Dollar isn’t all that The Orielles have to offer either; displaying a real growth in confidence upon the release of their second album ‘Disco Volador’ put out earlier this year. Although I’d never bore of hearing Esmé’s melodies complimenting their funky sound the bands first record doesn’t quite boast the greatest exploration in tone. However, their follow up puts this point to bed with more variance in the delivery of lyrics and exploding instrumentals. Each track truly comes to life, all effortlessly cool with an airy quality. Further deviating from the mainstream sound produced by many current bands there’s a real retro essence at its core, layered with a forward-thinking distortion to create their own vibrant universe.
The album starts with Come Down On Jupiter, a song starting with a hint of Pulp’s darker records à la ‘This Is Hardcore’ that’s then perfectly juxtaposed by the soft melodies introduced into the mix. Sneakily, they then go on to build the track until you find yourself listening to a pop song that still maintains an edge with strutting guitars and more assertive vocals. Continuing to defy your initial anticipations, Memoirs of Miso’s simple lyrics of ’Falling in love’ float around as you drift away into a technicolour vortex. You’re then caressed by a gentle rhythm and drifting saxophone before it bursts back, bringing you into the room, ready to dance again.
Speaking of dancing, Memoirs certainly isn’t alone as single Bobbi’s Second World is bound to have you on your feet; delivering a groovy strut with its bopping bassline, throwing in some fun backing vocals and a sprinkle of sound effects. It’s a tale of turning a blind eye to reality and getting lost in your own head; something I often find myself doing in general but even more so to The Orielles tracks which are pure fuel for the imagination. Summarising Disco Volador is its own ‘theme’ Space Samba which captures the essence of the whole album; beaming and euphoric with a bit of sass to ensure that you don’t fall too far into the dreams induced.
Not only are the band ahead of their time with their indie evolution, but they also look like they truly have a gift for seeing into the future with the line ‘Isolation, room for creation’ being repeated on Sugar Tastes Like Salt; their single released back in 2017. The song that originally caught my attention, ‘Sugar’ not only predicted our 2020 life but also hits with attitude. Featuring upbeat punches, trippy guitar and sinister beats it’s an 8-minute exploration that showcases their capabilities in producing cosmic soundscapes and is a great introduction to the group.
With every one of The Orielles tunes encapsulating a little bit of celestial magic, I’m more than keen to see what else they have coming our way. Sadly, I don’t appear to have their seeming power to do so but based on merit have great faith that it will be something special, so watch this space.
Stars are a pop/rock band from Montreal most notable from their truly unique storytelling ability in their songs.
Masters of creating diverse and imaginative narratives through the use of their lyrics, each of their songs offers a door into a fairytale-like world, one full of wonder, heartbreak and other-worldly characters all soaked in deep-felt nostalgia.
The band’s fifth studio album, released in 2010 and appropriately named ‘The Five Ghosts,’ is just one such example of this group’s powerful ability to conjure up melancholic and mysterious images in the mind.
The first track from the album ‘Dead Hearts’ is perhaps the reason I and many others first fell in love with Stars – a powerful story and a definite tear-jerker of a track. The lyrics in this song describe an abstract or even poetic yearning for things once lost or forgotten.
“They were kids that I once knew… Now they’re all dead hearts to you.”
Followed up immediately by the striking track ‘Wasted Daylight’ the album then twists and turns through emotions quite unlike any other LP. Through optimism, grief, longing and relief, each track pulls more heartstrings than the last.
Putting on this record often feels like running away – moving through life out of your comfort zone and off on some mystic adventure – who knows what characters inhabit this new place.
The thing you remember while listening to this album in full is that old things end and new things begin – It’s always been my go-to album for those difficult transitional periods of life. Nothing else quite like this set of songs describes exactly what those situations feel like – a feeling familiar to everyone but one that no manner of words could ever describe – a feeling of mourning for the past while striving for the future – an album I will keep in my heart forever, cropping up at the most difficult times.
Alongside the album’s release, Stars premiered a six-part documentary about the making of The Five Ghosts, in which we get a peek into the production of each track. The most curious thing for me was their unusual use of synths, a tricky instrument to utilize on anything but upbeat pop songs, but something which really makes this album.
As lifelong childhood friends, all members of the band grew up in Toronto. I think something must be said for how this sort of friendship has shaped so many bands. A bond formed over a lifetime, people who have laughed together, cried together and shared the same sense of belonging. It all sounds very poetic, but you can easily see that this connection often produces some of the greatest and most personal music – take Joy Division, The Smiths, Saint Etienne, you see my point. Bands with shared experiences often write the music which speaks to us most.
Stars understand the brittleness of the human heart – I do believe their music would warm even the most unfeeling soul – but don’t just take my word for it, I encourage you to do something terrifying; lay back with their record on and simply allow yourself to feel. In this album, Stars have surely captured perhaps the most integral part of being human – that you are alive.
I have to admit, it’s rare these days that a new band or artist thrusts their way into my consciousness so hard it knocks me off kilter. And believe me, it’s not for lack of searching! I invest a lot of time reading music blogs, listening to friend’s suggestions and throwing myself at the mercy of Spotify suggestions. Searching for that euphoric “fix” of new music that enriches the soul and helps pass the working week. And so it was that I came across the wonderful sound of Mattiel Brown. One mundane day last year was suddenly lit up by a gem in my release radar called “Keep The Change”. The vibraphone-spattered opening bars pricked up my ears, followed by an urgent drum battery that wouldn’t sound out of place behind Levi Stubbs and the lads. Before the vocals even hit I was already signed up, but as soon as Mattiel launched into a saturation drenched “..And just-a-what did I get into here, walking on this floor?”, I knew I’d found something special.
The lo-fi (almost DIY) production and overtones of various classic genres at first tricked me into thinking I’d discovered some obscure classic from the distant past. After all, Mattiel wouldn’t sound out of place sandwiched between The Rezillos and Fabienne DelSol. But there’s something unique going on here too. And so the journey began.
After some Googling I found that Mattiel, or Mattiel Brown to give her full name, hails from Atlanta Georgia, USA and until very recently worked as a graphic designer for spam cannon MailChimp. This was before teaming up with guitarist and co-songwriters Jonah Swilley and Randy Michael, and subsequently catching the ear and endorsement of Jack White. I was shocked and ashamed to discover that “Keep The Change” is actually from Mattiel’s second album “Satis Factory”, and that her eponymous debut some two years earlier had somehow passed me by.
Both albums share Mattiel’s knack for storytelling. There’s an intoxicating blend of humour, irony and vitriol that draws you into Mattiel’s slightly irregular orbit. Check out the bouncy tale of “Baby Brother” or the decline of “Cass Tech” from the first album. And a real stand out track from the second album is Millionaire; “Ever since I got myself this easy chair, might as well be a millionaire” – wordcraft to rival Robert Smith, Mark E Smith or Morrissey in their pomp. But there’s no fat on either record; every song is vital and essential listening, and believe me I’ve listened repeatedly. “Populonia’’, “Blisters”, “Berlin Weekend”, “Long Division” – earworms, the lot of them. And all wrapped in a delicious cloud of Sam Phillips slap-back, Phil Spector spring-reverb and Joe Meek saturation.
Sure, you can hear the eclectic influences that haunt Mattiel’s music, but it would be impossible to pigeonhole her into a genre; and that’s a wonderful thing. All I can say is there’s something different about Mattiel; different in the way that PJ Harvey, Bowie, Nick Cave, Grace Jones and Polly Styrene are all different. She’s just not the same… and that’s why we love her.
If there was ever a perfect time for a virtual band to drop an album, of course it’d be in 2020. Thankfully despite the hard times thousands of musicians have had to face this year, we’ve had plenty of new music to consume and I’m sure we’ll have much more to come thanks to the isolation and ‘free’ time this year has given us.
I’ve always been a passive fan of Gorillaz, and a deep admirer of Damon Albarn. I grew up in a very Oasis household with much of Blur’s deeper cuts never getting a mention in my childhood apart from the main big singles. But when my brother got a copy of Demon Days on his portable CD player back in 2006, hearing Feel Good Inc. for the first time, I was enchanted by the talent Albarn had, making me seek out in my late teens so much more of his work. Gorillaz last 2 albums Humanz and The Now Now, I really admired the work that had gone into them, and really dug a good few tracks from both, but I didn’t catch myself sinking into the sofa the way I did with Demon Days almost 15 years ago, which is a shame but perhaps I just wasn’t mentally mature enough to appreciate it properly. But with all this in mind, not even really paying much attention to the buildup to the release of this new record from Gorillaz, the drop of it made me really take a moment to genuinely take in all of what Damon Albarn and artist Jamie Hewlett had to offer this time round.
Gorillaz this time around have set out to change the meaning of the classic album. All throughout the promotion for this LP has been the labelling of each track being an “Episode”, and the album being called “Season One”. People consume music differently now to 2010, or even 1990. Genres and styles being more like parks you can stroll into whenever you please as opposed to strict labelled and rulebooked formats, and Song Machine: Strange Timez pushes that idea forward more than ever before. The last effort from Gorillaz strayed further away from artist features, whereas Strange Timez is a collaborative powerhouse. Damon really solidified himself as a producer similar to the work of Calvin Harris, Mark Ronson or Josh Homme’s Desert Sessions. Not that there was ever any doubt of Albarn’s producing work, but this record really puts that motion forward in a more prevalent way due to the nature of the featured artists throughout the album. Speaking of featured artists, Damon really pulled out all the stops for this, with features from Robert Smith, Elton John, Skepta, Tony Allen, Slowthai, Slaves, Unknown Mortal Orchestra, Georgia, Peter Hook, Beck and St Vincent – and that’s not even everyone! So the talent flowing through Song Machine’s veins is completely clear.
What brilliantly works is the soundscape of the entire project. When incorporating so many different artists it can often come together quite patchy as different artists have different inspiration, but here Damon works with his fellow contemporaries to ensure each one isn’t out of their comfort zones performing in a way that isn’t natural to them, but all the same wrapping each track in the smooth chilled out production that makes this album so Gorillaz. It all blends together in such a brilliant way, nothing and nobody is shoehorned in, every line and feature has a reason to be there and it makes out for such a cool listening experience, with Damon’s voice as the final ribbon tying each track together splendidly.
Title track Strange Timez featuring Robert Smith is a fantastic start, firstly it’s Robert Smith, hearing his voice on anything new these days is already a recipe for success, but the vocal wails and almost demonic sounding harmonies combined with the plonky piano keys and thin synth bass create this heightened feeling of uncertainty to match the idea of stranger times. The chorus on this also is just brilliant to dance to, and with Damon Albarn’s classic megaphone/radio filtered vocals just completely smashing it. The Valley Of The Pagans featuring Beck is a shiny modern disco bonanza. With Yamaha synths that sound as if they come straight out of a Sega Mega Drive game, collided with Beck’s vocals that sound almost like his earlier work from the 90s but definitely moulded to a more modern made performance. The Lost Chord with guest artist Leee John is a nice less hectic more tranquil track that makes you want to go for a drive at 2am on the empty motorways, absolute bliss and Leee John’s vocals are just luscious to listen to.
Pac-Man featuring ScHoolboy Q kicks off with a Bruce almighty sounding “alrighty” as the funky fat synth line lifts this track into an alternate reality Snoop Dogg instrumental, with ScHoolboy’s verse flowing so well with the lucid production that this whole album is jam-packed with. Chalk Tablet Towers with St. Vincent shows off some nice modern pop techniques, the synth and vocal effects emote a Drake style performance which works quite nicely. St. Vincent’s vocals backing up Damon’s mix delightfully well giving this larger choir effect even though it’s just the two of them singing together. The Pink Phantom is an interesting track, guest starring Elton John and 6LACK, the chill hop production matches the expected style of Damon and 6LACK’s verses, but when Elton John starts singing, it takes you back for a moment, something so odd that goes against expectations, yet sounding quite smooth regardless, as if Elton’s singing from an empty kitchen, which again adds to the laid back production of the album.
Aries featuring BRIT School alumni Georgia and Peter Hook from Joy Division and New Order, is a really nice slightly out of place slice of cake in the hipster coffee shop that is Song Machine. Sounding essentially like what a modern New Order song should sound like, the iconic high up the neck chorus infected bass performance from Hooky is delicious, evoking such nostalgia for New Order’s Power, Corruptions and Lies, and Georgia’s drumming motifs compliment Hook’s bass performance almost annoyingly well, it’s a power duo that makes you think, why haven’t we done that before? But it all gets interwoven within the consciousness of Song Machine so well, it’s a sound that fits the album really well, but being such a specific sound it demands to be noticed, and really for damn good reason. Friday 13th with French-British rapper Octavian is a song that takes you to cloud 9, with ska-ish guitar and reggae trumpets that really add a flair of summery vibes, and also bringing some more Peter Hook influenced bass playing in the background of the mix that helps ground this album to connection and a consistent progression of sound that as someone who’s ecstatic when an album feels like an album where things were planned and imagined in mind in context with the tracks it shares a small universe with, really released the serotonin in my head when listening to the album for the first time.
The final three tracks on the standard edition (yes there is an extended deluxe edition just in case the 11 tracks don’t fill your cup) of this album or season as Gorillaz are branding Song Machine: Strange Timez, nicely tie everything together. Dead Butterflies has a wonderful piano sound, hearing Damon say in the studio at the start “can we just loop that last piano part, little bit”. Featuring vocals from Roxani Arias and Kano, encapsulating this trio of perspectives from different backgrounds and cultures that clash and combine like a dance between man and fire, a trait that’s to be said for all 3 of these last tracks. Désolé is a wonderfully evocative track with some of my favourite production and songwriting on the entire project, the bass groove, soft funkish guitar, the silky jazz inspired piano that carries throughout the song, the breakdown that brings strings into the mix flipping the genre’s embedded within the song already on its head, all combined with the beautiful African percussion instrumentation, all set in place for the astonishing vocal performance from Fatoumata Diawara. Désolé is one of those rare pieces of art that makes you put everything aside to just take in just what it has to offer.
The closing track was the first single we were treated to at the start of this year, Momentary Bliss with Slaves and slowthai. Ending the album on a high with a bang. The slap of punk, punk-rap and the Song Machine sound continue to be a thrash of sounds that all come together in a harmonious way, evoking classic Gorillaz vibes, tarnished by the modern sound of Song Machine in such a beefy and delightful way.
There’s definitely a sonic contradiction all throughout this album. Firstly with the original intention of it not being an album, just a bunch of released songs, which swifty changed over time, the fact that songs later in production had to be recorded with social distancing and other covid precautions, to the fact that this album has quite a heavy emphasis on the chill lo-fi sound design whilst also having giant household names feature all over the album, and having so many different levels of inspiration and genre, it gives it this strange contained perception, it definitely feels like a lockdown album and definitely benefits from that. Song Machine: Season One, Strange Timez is the perfect analogy of what a modern record should be, and it wasn’t even trying to be that in the slightest. It demonstrates the focused ability and talent of Damon Albarn and company, and shows just what people can do during periods of quarantine, uncertainty and the lack of constant information and inspiration. It shows the power of what happens when people work together and manages to convey an escape from the strange times we’re all going through right now.
Listen to Song Machine, Season One: Strange Timez on Spotify now.
