First Exposure: IGOR by Tyler, The Creator

I know of Tyler Okonma from social media and his U.K. travel ban but I haven’t taken the time to listen to his music. What I know of his public persona is that he is an energetic, smart-talking American pissing around with his friends in L.A. He doesn’t seem like a typical ‘rapper’ (though I’ve found out he hates being referred to as that) as he dodges typical topics like money, drugs, or alcohol. Instead, he focuses on his beats and flexing his expansive music knowledge. IGOR was released May 2019, and I started to see the album cover praised everywhere by magazines and other musicians. Due to this mass appreciation for the work, I wanted to give it a listen.

After my first listen, I was confused by the story. I assumed that it was a heartbreak album about a girl he lost and could feel the intensity through the production. Overall, this album is not lyrical heavy, and when used, you find yourself catching glimpses of meaning. I believe this is where my confusion starts; I’m so used to focusing on the lyrics that I don’t stop to consider that the story is presented in a different way. After the listen, I watched his interview with Zane Lowe for Beats 1 and part of the conversation surrounded Okonma’s love of chords and production as a way to evoke emotion. This is made evident once I realised he included his own production credits on the album’s front cover. The profoundness of Okonma’s intention behind this album encouraged me to listen through it again detailing my highlighted moments.

IGOR’S THEME – Opens with an intense synth that lasts deliberately too long. The story of IGOR begins with a kind of a re-discovery, lyrics like ‘got my eyes open,’ shows this revelation is apparent. However, the heavy synth tells of danger; this new love could be seen as wrong and will lead to inevitable heartbreak. This song does everything it needs to set the listener up for the journey ahead.

I THINK – I LOVE the transition from EARFQUAKE to this song, the beat feels very Kanye West like and shows again the intense emotions Okonma’s feeling through the song’s pace. The track feels chaotic almost to show the procession of these emotions in his mind. A typical trope on this album is to seemingly trick the listener into believing that the track is over and you’re onto the next one. There are at least two points where the tempo completely changes, and I think we’ve moved on, only for it to go back to the original hook. It’s quite demanding of your attention.

RUNNING OUT OF TIME – I really like this one, there’s clear 80’s influence in the futuristic esque ‘wind chime’ chords. The lyrics are poetic and convey the hopelessness which is started to seep it’s way in. Lines like ‘I found peace in drowning’ are heartbreaking, like Fleetwood Mac’s ‘drowning in the sea of love, where everyone would love to drown.’ The song noticeably fades to the silence around 30 seconds before the song officially ends, only to then perk up again right before the end insinuating there’s still some hope to be felt.

NEW MAGIC WAND – This is a complete mood switch, the heavy synths are back, and a malicious evil laugh fades in and out of the background. The lyrics are intense, talking about how he’ll remove the girl from the picture and if he can’t, he’ll remove them both. The hopelessness of the first half of this album has morphed into anger for his disregarded love. ‘Can’t be in the picture if it got no frame’ IGOR is noticeably taking a turn from lovesick to facing the truth that he may never be able to make the person love him back.

PUPPET – This song reverts to the first half of the album, and we are experiencing this emotional roller coaster at the same time he is. The ‘puppet’ simile is referenced in I THINK, yet this song is completely dedicated to the lack of control. It is clear that although he is coming towards accepting the reality, he’s still fantasising about how great they would be together going on drives and bike rides. I almost feel sad that the character has reverted to this fantasy when you really want him to be able to move on from this person.

GONE, GONE / THANK YOU – The longest track on the album by a long shot—soothing vocals and ‘la la’s’ in the background. ‘My love’s gone’ doesn’t sound so hopeless as it is sung pretty high with harmonies. The acceptance of losing this toxic infatuation is apparent and leads to this song being quite pleasant.

ARE WE STILL FRIENDS? – This song feels detached from the whole album, it is ultimately a different production focus, using an acoustic guitar to provide the foundation. He is coming out of the other side of this relationship and wanting to leave it on a good note—a great closure to this emotional album.

After the second listen, I can see the attraction of this album. It’s a dangerous and emotional side of The Creator’s work. The production is impressive, and it is clear he is running on a higher level compared to many other musicians at this time. It’s not an album full of easy listens as it demands your full attention. Though it’s ultimately not to my musical taste, I respect the dedication it must take to produce a concept album like this. Not bad for an artist who when asked ‘why IGOR?’ just said ‘I thought it was cool.’

Review: Dua Lipa’s Future Nostalgia

This revived second album showcases the singers flexibility and style.

Dua Lipa is no new face to pop considering the successful longevity of her first single ‘New Rules.’ Like many artists in her position, she faced the challenge of releasing a follow-up album which didn’t fall flat, and what a second album Future Nostalgia is. Releasing earlier than anticipated during a global pandemic, Future Nostalgia brings with it a new sound and ‘era’ defining status for Lipa at a time no one really expected it from her. Lipa shows a ferocity and individuality in this record that leaves Dua Lipa in the dust. As The Guardian put it: ‘[Future Nostalgia] offers neither features nor filler, and makes a strident case for Lipa as a pop visionary, not a vessel.’ Let’s get into some of the highlights of the album.

Opening the album with the title track, Lipa addresses the listener confidently with ‘You can’t get with this, if you ain’t built for this’ providing an effective introduction for what to expect ahead. Producer Jeff Bhasker showcases his experimental talent on synths to give that 80’s revival feeling throughout. To follow is the famous ‘Don’t Start Now’ which best shows Lipa’s credence for new sound direction while still holding up to her lyrical themes. After this, we really solidify the futuristic synth-pop with tracks like ‘Cool’, ‘Physical’, ‘Levitating,’ and ‘Pretty Please’ all showcasing the impressive cohesiveness of this album.

The B side is no less exciting, with stand out tracks like the bass-filled ‘Break My Heart’ and playful ‘Good in Bed,’ being splendid examples of modern pop tropes suitable for a disco. What I find interesting about this release is the reinvention, not just in the music but in Lipa’s physical style and ‘Cruella De Vil’ esque hairstyle visually detaching herself from her past. In my opinion, pop reinventions end up being the most effective way for a singer to stand out and break from a repetitive mould. Some examples are Katy Perry’s Teenage Dream, Ariana Grande’s Thank U, Next, and Kylie Minogue’s Fever.

Taking such a bold turn during the adolescence of her career shows Lipa’s confidence and willingness to prove her talent. This is an infectious album which is light-hearted and focused on providing a cathartic listening experience. It’s safe to say it’s been on repeat all day.

4/5

Opinion: My First Week Social Distancing

It’s been four days since our prime minister delivered a message across the U.K. pleading for us to stay inside to eliminate any unnecessary interactions. Seeing that announcement made me feel unsettled as the tragedies and panic felt globally in the last few weeks had finally hit me. An national address like that does not happen often.

I completely agree that we must take social distancing seriously in order to stop the rapid spread of COVID19 and the stress on the NHS. The restriction is currently standing as a period of three weeks, only being allowed to leave the house once a day just for solo exercise and shopping. So far it seems everyone is in agreement to take this seriously. However, I went for a run a few days ago after work and I had never encountered so many people out and about before. Clusters of people walking, running, and even scootering around enjoying the evening sun. Even when I changed route to avoid the groups I still encountered the odd person out. Seeing us all take our allocated break at the same time was almost comical and definitely against the point of the announcement. In view of this, I will start to complete my run in a more ‘anti-social’ hour like early morning or late evening. This will prove challenging but will make me feel better for lessening interactions.

This is a photo taken around this time last year. Enjoying the spring sun.

I am very fortunate to be staying at home with my family so I am not talking to the walls. We’re a strong unit and don’t seem to get under each others feet. What I have been mindful of is trying to keep occupied in productive ways. It can be so easy to just fall into a pattern of watching endless Netflix shows, but its really important to me to utilize this time appropriately. I have been writing more and getting through my never ending pile of books and I would like to complete some short online courses to develop various skills and keep my mind active. I’m not much of a TV binger any ways.

I’ve found it important to distance myself from my phone unless when actively speaking with friends and family. Constantly scrolling on social media is not a positive thing for me right now and doesn’t provide me with any feelings of comfort or ‘connectedness.’ Instead, I feel it can easily absorb so much of my time with mindless comparisons and an urge to post about every little boring thing I’m doing throughout my day.

As this first week comes to a close, I feel overall positive. I just hope that I can settle down into a steady routine which will help the isolation period feel like an opportunity rather than a chore.

First Exposure: Bon Iver – 22, A Million

I want to start a series where I experience trendy albums that I have yet to properly listen to and understand the hype. This will give me the chance to explore more genres and musical influences that surround some albums which wouldn’t attract me otherwise.

The first album I’m covering is Bon Iver’s 2016 ’22, A Million,’ the tracks that I have partially listened to have confused me and didn’t strike as something that I would enjoy or repeat. However, this album kept popping up in articles and through other musicians praising its artistry. I know of Bon Iver’s work and associate him with soft folky guitar sounds and unique vocals, ’22, A million’ is not so folky but more of a musical exploration utilising numerous instruments and voice samples.

A commentary YouTube channel, Middle8, describes this album as ‘a celebration of the human voice’ and from the first track, this is proved accurate. You are greeted with a long slur of Vernon’s distorted voice that you can’t help but draw focus to throughout the record. It is around a minute in when you are greeted by a single guitar chord that cuts through the built-up tension and follows the track to the soothing end.

After this quite peaceful track finishes, the offensive beat of ’10 dEAThbREasT’ completely shakes the tempo and demands your attention. When I was initially listening to this, I was lying in the dark, and the fast drums started to kind of freak me out. I wasn’t expecting it, but the exploration of tone and layering in this song is powerful, and I would recommend listening with good quality headphones.

I have to touch on the heavily used auto-tune throughout this whole album, which is best showcased on ‘715- Creeks.’ Justin Vernon was said to be inspired by Kanye West’s use of the tool and has often collaborated with West throughout the years. I can see the influence quite clearly when compared to West’s 2008 ‘Heartless,’ and can see auto-tune used frequently by other contemporary artists such as The 1975 and Charli XCX in their recent albums.

Using auto-tune unconventionally has always intrigued me due to the tool’s usually being a representation of a bad and untalented artist. Using auto-tune candidly to project such heartfelt lyrics: ‘Honey, understand that I have been left here in the reeds / But all I’m trying to do is get my feet out from the crease,’ elevates the emotion in Vernon’s voice as he’s actively fighting against the tool who’s aim is to fix the raw, choppy tone. I really enjoyed this track.

Next, ’33 “God”‘ brings chaotic and messy energy with it, showcasing many samples such as from Paolo Nutini’s Iron Sky which I was able to recognise. This track feels like a collision of many voices in a person’s head, different pitches and volumes but all struggling to be heard. This is then followed by ’29 #Strafford APTS’ which feels like more of a traditional Bon Iver song, it is stripped down to plucking on an acoustic guitar and distant violins. There’s something about the note that Sean Carey (who accompanies this song) reaches when singing the ‘Paramind’ lyric that lingers in your mind.

As we head into the second half of the album, it appears to mellow out with 666’s soothing electric guitar that echoes through the track. At around this point, I started to really enjoy this album and the journey I was experiencing. Each instrument used seems to pull out a different feeling and although the lyrics can feel distant and hard to follow at times, the beat alone tells the story perfectly.

I have to finish with praising the closing track ‘00000 Million’ which is by far my favourite and is just a beautiful ending to this chaotic LP. I can imagine just how good this would sound playing out into an open field at night. The lyrics and Vernon’s voice take centre stage here, and I believe this is why it is so effective. Lyrics such as ”If it’s harmed me, it’s harmed me, it’ll harm me, I let it in,’ and ‘I hurry ’bout shame and I worry ’bout a warn path / And I wander off, just to come back home’ really provide a good grounding for what Vernon has learned from this 5-year long experience completing this album. I feel that I could listen to that song over and over again.

I can’t say that I was surprised that I ended up liking this album, I would consider myself a fan of Justin Vernon’s work alongside his production credits on albums such as ‘If I Was’ by The Staves. This album was not what I first expected it to be which was a sort of drafted, directionless, and mismatched LP that Vernon just said ‘Fuck it’ and released. Instead, it ended up beautifully showcasing a lot of pain and energy that Vernon displayed cathartically.

Released within an era of Justin Bieber and Drakes dance revivals, this album really stands out as an impressive black sheep amongst the crowd. If anything, it definitely proves Vernon’s creativity has no boundaries.

I completely get the hype.

Review: After Hours by The Weeknd

The Weeknd’s long anticipated fourth LP falls flat on expectations and musical development.

Basing this album off of the singles ‘Blinding Lights’ and ‘Heartless’ following a theme of an intoxicated and blood-soaked Abel Tesfaye stumbling around the streets, it excited fans for a potential new ‘era’ for The Weeknd after the critically acclaimed Starboy. The reality is a mumble of slow-burn tracks that leave the listener conflicted on the direction this album is trying to take.

I have to admit I found the A-side of this LP hard to get into; the songs seem to blend in with each other in the sense that they bring no distinction or originality between each other. The attention-grabbing visuals surrounding the music videos and album cover do not match the mellow, soppy tone of the first half of this LP. However, I stuck with it, hoping it would pick up and surprisingly the B side is a lot more lively and suits the expectations which were created around this album.

The B side is reminiscent of 80s synth beats and catchy hooks from tracks like ‘Save Your Tears’ and ‘Blinding Lights’ which stand out as the highlights of this album. I don’t understand the first part of this album, it seems out of focus and almost like two different projects mushed together.

I think this album is a grower, if you are a fan of The Weeknd, you can still expect his classic tone and vocals but if you were going into this album expecting a bit of grit and definition sadly it does not deliver.

3/5

COVID19 – What is the New Norm? (20/03/20 Archive)

It has been just over a week since my last post contemplating the excessive worry surrounding the Coronavirus. Since then, the world seems unrecognisable.

A personal update is that I am currently working from home for the foreseeable future, this has been a smoother transition than expected, but elements of it have proven difficult. I’ve found it hard to distinguish a break as its difficult to actively leave my station and stretch my legs when I feel I am already at home and settled. Another update is the social isolation that I understand is a necessary procedure but still hard to accept as I notice myself spending more time on social media because of it.

Somewhat surprisingly, social media has been very positive throughout this experience, and we are fortunate to live in an era where we are all so well connected, especially to public figures. I’ve particularly enjoyed musicians posting live stream concerts to their followers in the evenings, providing entertainment in an accessible way and giving comfort in the fact that we are all in this together.

In more upsetting news, many significant social events throughout 2020 have already been cancelled. A noticeable one being Glastonbury, which was going to be celebrating its 50th anniversary. News of events being cancelled way into the summer worries me as it implies that we are preparing for the lockdown and isolation to last several months. This development will be a challenge for me, and I assume many people and the uncertainty surrounding the virus’s longevity does not inspire confidence.

The news has been toxic in its effort to keep everyone informed and updated. It feels as if there is a new update every hour that brings new restrictions and troubles to the general public and I didn’t believe that the U.K.’s confidence in its leaders could get any lower, but it appears it can. Schools are expected to close alongside all pubs, cafes, clubs, and restaurants putting children’s education, small businesses, and wages at risk.

It is undoubtedly a messy situation, and I can’t say that I’m as cynical as I was last week; however, some positives have arisen out of this situation. Due to mass isolation, we have already seen a depletion in greenhouse gases and encourages communities to come together to assist their more vulnerable members.

It is easy to focus on the negatives during this unsettled period. Still, I have tried to focus on the freedom that having no control over the outer circumstances can bring to my wellbeing. Without continually trying to control my surrounding, I have been able to allow myself time to write freely, practice yoga and play music. Some of these things I struggled to allocate time to before, but we all know that free time is of abundance at the moment!

I do hope that the panic buying and the uncertainty will decrease as people settle into a routine and understanding what truly matters at this time: staying connected as best that we can and taking this time to reflect and improve at your own pace without outer restrictions. It has been just over a week since my last post contemplating the excessive worry surrounding the Coronavirus. Since then, the world seems unrecognisable.

A Review and Introduction to Zach Bryan – DeAnn

Zach Bryan has seemingly appeared onto the American Singer/Songwriter scene suddenly. Firstly posting songs onto his twitter and then moving onto YouTube with humble videos of himself singing on back porches gaining millions of views. Those millions of views prove that Bryan is someone worth watching even if you wouldn’t class yourself as a regular fan of his style of dark country & folk. 

Bryan’s most recent release from 2019 is a humble 12 track album exploring the pains of heartbreak, loss and self-loathing. These heavy topics are beautifully poeticised by Bryan’s inherent lyrical talent, which shines through on this album through every track. Named in honour of Bryan’s late mother, DeAnn,  the album opens with ‘Flying & Crying’ a song detailing a drunken night filled with reminiscing and regret, setting a familiar tone for the rest of the tracks. 

If you’re coming into this album expecting high-quality production, you will be disappointed. However, the charm of this album is the homegrown ‘DIY’ feel which is not far from reality. Bryan himself stated in an interview it was a home project finished by himself and his friends in a room with a mattress against each wall. The strums of his guitar and his single voice are what make up the 40 minute LP with the exception of a scattering of harmonies. All of these factors add to the personality of Bryan, it is clear that this album was made purely for himself and his friends and not to please a wider audience but yet why is it attracting more listeners? The answer lies in the relatability of the topics and the individuality that Bryan brings to them. Lines like ‘won’t you count up the people I’ve let down’ (Doing Fine) and ‘how we turn into the things we’re running’ (Letting Someone Go) present a writer wiser beyond his years detailing countless regrets and hardships in his life. As a listener, you feel the same pain as he feels and the honesty of it all is touching and relatable to the human condition. 

There are many arguments on whether Bryan is or isn’t a Country artist and it’s easy to assume why. The stereotypical country motifs appear in his lyrics and he often praises the likes of Tyler Childers and Jason Isbell for their songwriting prowess alongside Johnny Cash.  Country can be a problematic genre and often a closed group, Bryan does bring these elements into her music but fundamentally his talents lie within songwriting. What you can expect from this album is rough cuts of heartfelt poetry complemented by an acoustic guitar which are suitable for summer nights around a fire. Bryan’s small fanbase is vocal and supportive and I can imagine it not being long until he is releasing an album with more collaborative elements and additional production. 

Tracks I’d recommend:

Snow 

Moon In Oklahoma

Don’t Give Up On Me

Sweet DeAnn. 

A Review and Breakdown of R.Y.C. by Mura Masa. (14/03/20 Archive)

The 23-year old’s sophomore album delves deep into the thoughts and feelings of being a young adult navigating the 21st Century.

I only started to take notice of Mura Masa in the run-up to his second album, specifically from the punchy single ‘Deal Wiv It’ featuring Slowthai. There was something raw and attractive about the aggression coming unapologetically through the radio where I heard it the first time; I knew I had to explore this direction further.

‘R.Y.C’ or ‘Raw Youth Collage’ explores the many highs and lows of being young in the 21st Century, and the appeal of this album to myself is primarily due to this. Mura Masa reveals a lot of anxieties that plague many young adults today; therefore it feels like a personal diary that has been leaked to the public with a purpose to reassure. 

The title track provides a gentle introduction to the album; Mura Masa mumbles through some words almost like he is your drunk mate in the smoking area of a pub. It’s comforting and sets the tone of this album and the vulnerability you should expect from it.

From that, you go into the energetic ‘No Hope Generation’ the sarcastic lyrics which are juxtaposed by the anxious ‘What am I to do? I’m walking back through my head again’ make this track a jumbled emotional mess in the best way possible. Mura Masa zones in on this anger towards his image in society (possibly as a millennial/gen z) but feeling powerless to change it.

Then onto the lovesick, ‘I Don’t Think I Can Do This Again’ feat Clairo which explores the difficulty of letting go of someone to grow yourself, Clairo’s gentle voice during the verses intertwining with the shouting of the chorus adds to the vulnerability. 

The spoken-word track ‘A Meeting at An Oak Tree’ featuring Ned Green is a surprise interlude but doesn’t seem misplaced. Ned Green presents a story which again feels like a chat between friends. The light-hearted spoken-word is then followed by ‘Deal Wiv It’ and ‘Vicarious Living Anthem’ which showcase Mura Masa’s need to exorcise his creative capabilities and to stray from genre constraints. Some tracks are reminiscent of his previous work such as, ‘In My Mind’ whose delicate and spacey beats are a hypnotic treat leading admirably into the equally delicate Tirzah feature; ‘Today.’ These middle tracks show a transition from self-loathing and anger fuelling lyrics to a soothing yet melancholy tone.

The closing three tracks hold a more hopeful tone to conclude the journey of this album best. ‘Live Like We’re Dancing’ reminds me of an early 2000’s Kylie Minogue track  (a definite compliment) in the way it provides the same uplifting, infectious energy of a produced pop song. Following this comes a perfect encapsulation of the themes on this album, ‘Teenage Headache Dreams’ that delves into the feelings of nostalgia and catching yourself living in this state of reflection. Mura Masa acknowledges how being a teenager is often romanticised in popular culture and creates a track that is mourning the ‘good times’ but also advising on how to best move past this often toxic feeling. 

The last track finishes on a similar note as the beginning, this time softly playing us out with guitar and violins. ‘Nocturne for Strings and a Conversation’ leaves the listener in a state of calm reassurance that the emotions they are experiencing are universal. 

I believe this to be an impressive album. Mura Masa shows courage in releasing something so stylistically different than his last, as he said himself ‘ ‘I think people have come to expect a certain output from me, a certain attitude, a certain type of music… but I just want to set those expectations on fire.’ and t, at he certainly did. 

5/5 I liked every track and would go back to listen to each one.

Review: Heartbreak Weather by Niall Horan (13/03/20 Archive)

The release of his second studio album shows Niall Horan slowly coming into a distinctive melodic style.

Throughout his solo career, it has proven difficult for Niall Horan to shake off the boyband shadow and fall into his own unique style finally. Heartbreak Weather demonstrates pop experimentation through a mix of 80’s synth style with bluesy guitar notes.

Horan opens the album with the title track, lyrics telling of similar lovesick notions throughout the rest of the album, but the beat and guitar licks are an evident influence from the beats of classic 80s pop singles which keep a upbeat vibe throughout. The production levels on this album are skilful, and it’s a treat to zone into the various layers on each track that demonstrate the amount of care given during his process.

As far as the rest of the album, it is relatively cohesive and the ‘heartbreak’ theme is thoroughly distinguished, but there are definitive outliers against the rest. In my opinion, the most energetic song on the album is track 5 ‘Small Track’, the sexy guitar licks mixed with the steady clap beats throughout prove to be a perfect modern mix and play ode to Horan’s love of guitar and catchy pop.

Where the lyrics can sometimes feel simple, Horan’s delivery distracts and holds the listener captive. Horan himself stated influences for this album lie with rock legends along the lines of Fleetwood Mac, but I failed to see these influences fully come through. That’s possibly just me searching for an obvious comparison, and a carbon copy of a Fleetwood Mac song would have been disappointing if that were the case.

I believe this album to be an example of Horan carving his musical path away from his heavily industrial past and the care given to this album is evidence of that. The general flow of the record is hard to distinguish as the songs are very similar in formats, and the theme gets redundant once you pass the halfway mark. It is worth a download for songs such as ‘Small Talk,’ ‘No Judgment,’ ‘Dear Patience,’ and ‘Cross Your Mind’ which make it a pleasant and fun album.

Rating: 3/5

An impressive and confident production showcasing Horan’s growing confidence, this album is worth a listen.

Review: Everything Else Has Gone Wrong – Bombay Bicycle Club (11/03/20 Archive)

Bombay Bicycle Club return with a reassuring pat on the back.

Growing up in Southern England, where the Indie scene was experiencing a popular revival between 2009-2014, I knew of Bombay Bicycle Club. The unique raspy vocals of Jack Steadman and memorable guitar riffs made them shine as the forerunners of the last years of Indie music dominance. In 2014, they released the suitably named, ‘So Long, See You Tomorrow’, what would be their last album for six years. 2020 brings them back with a nostalgic sound reminiscent of those Indie days.

Why 2020?

MacColl explained the hiatus as necessary for the band’s development and content, saying to NME: ‘All we knew from the age of 16 was Bombay Bicycle Club. We’ve now got a bit more to think and write about.’  Understandably so once you realise all their previous albums released within two years of each other. I will go track by track to best see this development in writing and style that they hope will show.

Track 1: Get Up

A busy and layered introduction to the album, showcasing the variety of instruments and production to expect in the upcoming tracks. The slow progression from softer to harder hits politely prepares the listener for the rest of the album. It reaches the chaotic crescendo to quickly revert to a jumble of notes from a piano until fading. Overall, it’s useful as a starting track, and I can see why the band placed it where they did.

Track 2: Is It Real

Unlike the opening, this song throws you straight into its contagious high energy and Steadman’s vocals. Steady guitar and bass riffs make up this track and fast drums which do not cease until the song is over. It makes you feel like you should be running to best explore the energy. The lyrics encourage reflection and poses as an open question though there was a clear decision to not include the ‘?’ in the title—one of my favourites from this album.

Track 3: Everything Else Has Gone Wrong

Sounds best through headphones to appreciate the layering in this song. Steadman harmonises his voice always throughout the song until the bridge where the lyrics suddenly shine through and become more personal, hopeful tone. Steadman explained in an interview with Apple Music that this song holds a lot of excitement and is telling through the repetition of ‘yes, I’ve found my second wind’ by the end.

Track 4: I Can Hardly Speak

Percussion takes the lead with this song, and it feels like an ode to old Bombay. I can see it as a single released in the summer; it has a classic festival potential. A bit MGMT-like with the inclusion of the keyboard.

Track 5: Good Day

The lyrics are the outstanding feature on this track. It is very much a millennial cry for help and suited for the listeners who are likely of a similar age to the band. There are obvious references to the worry of the Climate Crisis alongside dissatisfaction in career and lifestyle choices. The group are sharing their anxiety from being a young adult navigating society and mental health with their listeners, knowing they will be experiencing the same notions of self-consciousness.

Track 6: Eat, Sleep, Wake (Nothing But You)

The leading single before the album was fully released. Much like how I feel ‘I Can Hardly Speak’ is like, this song is very much a crowd pleaser and has a festival feel which is familiar to old tunes like ‘Shuffle.’ It feels too much like a single rather than being part of the album, but it’s undoubtedly a Bombay song.

Track 7: I Worry Bout You

Again, there’s quite a lot of music layering in this song and multiple instruments used but I find it to be quite messy and forgetful.

Track 8: People People (feat Liz Lawrence)

The only song with a noted feature on it and both voices complement and blend very well. Jack Steadman said of the featurette that ‘I enjoy singing with other people. It tends to be female singers. I always write high parts for my voice, […] it’s nice to get in other people who can hit those notes.’ The guitar opening is attractive, and the overall melody makes me want to replay the song.

Track 9: Do You Feel Loved?

The breathy extension of ‘loved’ in the chorus gives the song a relaxed and breezy feel. I can imagine listening to this with the windows down in a car. It’s a reassuring song; the lyrics ‘all the cracks around your head will fill with light’ are on a loop and feels like the band is talking directly at their audience.

Track 10: Let You Go

The modern synth beat and use of distortion and loop for backing vocals. I like the build-up of energy to then fall back to a slower pace with just Steadman’s voice throughout the verses. Heavy 80’s influence which suitably fit well with the current revival we’re experiencing.

Track 11: Racing Stripes

The last track is always my favourite. I believe that the closing song of an album solidifies the overall musical journey. The track features a 200-year-old harmonium to play out a reassuring rhythm, meant to comfort the listener. ‘This light will keep me going’ is a lovely statement to close this album and to approach the future.

Final Thoughts

I appreciate the experimentation on this album, but cohesively, the songs do not flow as high as I would usually expect from a full album. Quite a few of the songs are forgettable, but the standouts for me are ‘Is It Real’, ‘Good Day’, and ‘People People’ as they have stuck with me the most from this album. Bombay went into this album as a steady welcome back for themselves and their fans which is useful in that capacity. Bombay deserves applause for not losing their distinct sound in this time where music has shifted so much in the past decade.

I enjoy it and give it a solid 4/5. It is an album that is best suited for reminding listeners of what makes Bombay unique and delivers some powerful positive messages for the generation of young adults listening, however, I don’t believe it has any longevity.