Posted in Album of the Month, New Albums, podcast

May Album of the Month: Kendrick Lamar – Mr. Morale & The Big Steppers

For May I was dead set on Pusha T’s “it’s Almost Dry’. It’s pretty impressive and has met all of my expectations. It’s perhaps my favourite album of 2022 thus far. All the stars were aligned, until Kendrick Lamar announced he was releasing new material in mid May after a 5 year hiatus. Sorry Pusha, sometime you need to make a sacrifice and this was an easy decision. 

Before we get into the new album, I think we need to remind ourselves how impactful he is. You would be hard pressed to have missed the evolution of Kendrick Lamar over the last 12 years. Through ’Section.80’, ‘good kid, M.A.D.D. city’, ’To Pimp a Butterfly’, ‘Untitled’ and ‘DAMN’ not to mention a plethora of guest appearances and film soundtrack anthems he’s created a vast catalogue with something for everyone it seems. 

From early 2010 he has been surrounded by hype. Back then, backed by Ab-Soul, Jay Rock and Schoolboy Q (with their Black Hippy supergroup), they started making serious waves with their unique West Coast sound. When Kendrick released Section.80 he had my attention straight away. ‘HiiiPower’ is still one of my favourite songs. Funny enough he reminds me a bit of Pusha T on that track and a few others on the album with his flow. It was only a matter of time until he found himself on a major, and Dr Dre’s Aftermath (through TDE Artists) was a natural home. Differing from other Aftermath artists, Lamar blazed his own trail without the ever present cross pollination of Aftermath artists that we’ve come accustomed to throughout their catalogue. ‘good kid, m.A.A.d city’ pushed Kendrick into the forefront of not just hip hop but the music industry. ‘Swimming Pools’ became a summer anthem, ‘Bitch Don’t Kill My Vibe’ was a radio hit and ‘m.A.A.d city’ set foundations in hip hop that Kendrick was a serious contender as an MC. 

Kendrick teased us with his fierce flow in 2014 with a verse on ‘It’s On Again’ with Alecia Keys from the Spiderman soundtrack. Little did we know that that taster was nothing like what he was working on. He was about to move the nets. When Kendrick released ‘To Pimp a Butterfly’ in 2015, it felt like he flipped music on its head. Was it hip hop, or was it a jazz album? It was the most creative album that broke the main stream in recent times and showed the world the layers that Kendrick was able to achieve. Not only musically, but also as a performance artist as he took the presentation of his live show to what felt like uncharted territory for a hip hop artist. The album wasn’t without faults. I still find it his least approachable album. Though it gained acclaim and opened him up to a new audience, it was a far step from his first album. The surprise release of Untitled brought many Kendrick fans back into the fold. We all got it, he still wanted to make the music that we loved, but the tracks on Untitled didn’t fit into what he was trying to do on Pimp a Butterfly. An album of rejected songs that were miles ahead of most albums… sort of insane, and very cool. 

By the time DAMN was released in 2017 Kendrick was an established artist that seemed to have found this nonchalant confidence that made the album arguably his best to date. By that point he had won Grammy’s, the Pulitzer Prize, and almost every other music related award. 

So his new album, where do you start? Well he’s taken a page from Big Thief and released an 18 song, 73 minute album. He starts with the album with the line ‘I’ve been going through something’… has he ever. There’s lots to go at!

I’m still digesting the album. Like many, I’ve spent the last week digesting (what I thought was) the lead single ’The Heart  Part 5’. The lyrics and the video are amazing and so important…. but the track isn’t on the album. This guy sits in a different space!

It’s hard to name an artist that has evolved and pushed boundaries as much as Kendrick, especially within hip hop. On this album we find a rounded Kendrick that musically blends the feels of both DAMM and TPAB. Lyrically his confidence is apparent throughout. His thoughts are honest, complex and at times uncomfortable. He has a voice and he uses it. He faces into some tough subjects; religion, addiction, infidelity, relationship struggles, queerness and so much more. Hip hop gives an artist a platform to delve into subjects perhaps different than other genres and he does this masterfully. 

N95 is the lead single. What a single! I’m trying to figure out what track I would share with someone as a good catchy track on this album to start? It’s tough. They’re all really deep. They all have layers. Sampha laces ‘Father Time’ with a lovely hook, but the song is beautifully honest. Perhaps too honest for some. On the flip side ‘We Cry Together’ is really hard to listen to at first, but also has a beauty to the bleak honesty. Unapologetically honest. Is anyone else like this in music? This is an album of two halves, and it being a digital only release it the moment lets you forget this is a double album. The first half cuts deeper the the second, but needs to be there for the second half to fully work.

I wrote some bullet points the other day about Kendrick when I was listing to his back catalogue: 

  • Kendrick is honest
  • Kendrick lets you into his mind, not just his world
  • I don’t think anyone really knows Kendrick Lamar through his music
  • Kendrick is an anomaly   

… my view still is the same after listening to the album for the first 5 times. 

Lamar has stated that ‘he is not the messiah’, but he does have a voice and a message. He has extreme influence on numerous generations, and all levels within those generations. People listen to Kendrick. Kids, mums, dads, grandparents. There is A LOT to digest with this album. And many will take the time to do so. Isn’t it wonderful that someone is making music that is so complex that everyone wants / needs to listen to? 

I look forward to all of us digging into this and everyones thoughts. There’s a lot to go at. Ive not even touched on who is Mr. Morale & The Big Steppers? Nor have I talked about the well thought out and controversial guest appearances? 

Posted in New Albums

New Arcade Fire

There’s something really exciting about new music from artists you love, and with the pandemic (supposedly) ‘over’ there’s a ton of albums coming, from Kendrick to Hot Chip, and of course my favourite Arcade Fire.

This really feels like a nod back to the old school of Funeral after Everything Now. Bring it on.

Posted in Album of the Month, podcast, Tracks of the Month

Podcast Episode 22 – Big Thief – Dragon New Mountain I Believe in You.

Ep 22 – Big Thief – Dragon, New Warm Mountain … This Is Not Happening – An Album Of The Month Podcast

Last month we shared our thoughts on Small World by Metronomy, all 9 tracks and 35 minutes worth. This month This Is Not Happening ups the ante with 'Dragon, New Mountain …', all 20 tracks and 80 minutes worth.  In part 1, we deep dive into the density of Big Thief and Part 2 we play 'Spin It or Bin It?' where we judge the tracks that we've chosen for this month's theme.Part 1 – Album of the MonthThis month it's David's choice, 'Dragon…' by Big Thief. Three of us love Big Thief and have more than a passing relationship with the band … whilst one of us is a Big Thief virgin. There was SO much written about this album as soon as it came out including a number of 100% reviews.  As always, we take a slower, more considered approach to criticism, living with this album for a couple of months and letting it really settle in before we reflect and share our views.You don't have to look to far to find interviews, reviews and videos on Big Thief and this album but some of the content that we consumed and discussed in part 1 can be found below;The Metacritic review page is always a goo start and can be found hereThis is a great listen – 'Out On The Line' Podcast Really insightful take on the album – 'Taking it Down' PodcastIf you love them … or not, this one's got you covered – 'NY Times' PodcastA great article in Vulture – read it herePart 2 – 'Spin it' or 'Bin it?'In the second part of this episode we get stuck into 4 tracks representing this months theme – 'Not on Spotify'. We all pick a track,  introduce our track and ask the others the painfully binary critical question; 'spin it' or 'bin it?' This month was a little more 'free form' than usual … but an amusing listen none the less!Guy's track selection is – Prassay – KrvsinDavid's track selection is – Nick Drake – I Was Made to Love MagicNolan's track selection is – Pharoahe Monch – F YouJoey's track selection is – Joanna Newsome  – '81Next MonthEpisode #23 will be with you soon – Joey will be leading the discussion on 'Life on Earth' by Hurray for the Riff Raff. If you get the chance we'd love you to have a listen and perhaps share some thoughts with us on the blog or on our Insta. This album's getting a lot of positive attention and we think it's going to be in a few year end lists.Other episodes of the pod and 10 years of the blog;If you enjoyed this episode, please check out the others. If that's not enough for you then there's 10 years worth of music discussion on the blog at http://www.thisisnothappening.net, which runs alongside the podcast choices and much, much more. So check them out so to see what we like and where we clash, and comment if something catches your eye. We'd love to see what you think.  
  1. Ep 22 – Big Thief – Dragon, New Warm Mountain …
  2. Ep 21 – Metronomy – Small World
  3. Ep 20 – Album Club – Modern Classics
  4. Ep 19 – Joy Crookes – Skin
  5. Ep 18 – Our Top 10 Albums of 2021

Last month we shared our thoughts on Small World by Metronomy, all 9 tracks and 35 minutes worth. This month This Is Not Happening ups the ante with ‘Dragon, New Mountain …’, all 20 tracks and 80 minutes worth.  In part 1, we deep dive into the density of Big Thief and Part 2 we play ‘Spin It or Bin It?’ where we judge the tracks that we’ve chosen for this month’s theme.

Part 1 – Album of the Month

This month it’s David’s choice, ‘Dragon, New Mountain …’ by Big Thief. Three of us love Big Thief and have much more than a passing relationship with the band … whilst one of us is a Big Thief virgin. There was SO much written about this album as soon as it came out including a number of 100% reviews.  As always, we take a slower, more considered approach to criticism, living with this album for a couple of months and letting it really settle in before we reflect and share our views.

You don’t have to look to far to find interviews, reviews and videos on Big Thief and this album but some of the content that we consumed and discussed in part 1 can be found below;

  • The metacritic review page is always a goo start and can be found here
  • This is a great listen – ‘Out On The Line’ Podcast 
  • Really insightful take on the album – ‘Taking it Down’Podcast
  • If you love them … or not, this one’s got you covered -‘NY Times’ Podcast
  • A great article in Vulture – read it here

Part 2 – ‘Spin it’ or ‘Bin it?’

In the second part of this episode we get stuck into 4 tracks representing this months theme – ‘Not on Spotify’. We all pick a track,  introduce our track and ask the others the painfully binary critical question; ‘spin it’ or ‘bin it?’ 

This month was a little more ‘free form’ than usual … but an amusing listen none the less!

  1. Guy’s track selection is – Prassay – Krvsin
  2. David’s track selection is – Nick Drake – I Was Made to Love Magic
  3. Nolan’s track selection is – Pharoahe Monch – F You
  4. Joey’s track selection is – Joanna Newsome  – ‘81

Next Month

Episode #23 will be with you soon – Joey will be leading the discussion on ‘Life on Earth’ by Hurray for the Riff Raff. If you get the chance we’d love you to have a listen to the album before next month, perhaps share some thoughts with us on the blog or on our Insta. This albums getting a lot of positive attention and we think it’s going to be in a few year end lists.

Posted in Album of the Month, Music chat, New Albums, New Tunes

AOTM: ‘Life on Earth’ by Hurray for the Riff Raff

This is actually the 2nd time that I’ve introduced the This is Not Happening family to Hurray for the Riff Raff. In 2017, I chose ‘Pa’lante’ as my track of the year, and wow what a track that is. Check it and the stunning video out here. Since its release, this track has become an Anthem for Puerto Ricans the world over. The album that it came from, ‘The Navigator’, received significant critical acclaim and attention and announced Alynda Mariposa Segarra to a much wider audience than they had previously.

But let’s pause a second to understand how Hurray for the Riff Raff got to this point. Whilst I don’t want to get caught into a detailed history of their life, the backstory is important to understand them and this album. Alynda grew up in the Bronx, estranged from her birth parents she grew up with her aunt and uncle in a 14th floor, claustrophobic flat. She has Puerto Rican heritage which we’ll come back to shortly as this is another touchpoint in understanding them as an artist. Alynda has spoken openly about her teenage realisation of how small she is (5ft 2) and how little space she took up in the world. She reflects on finding the punk scene, the music, the clothes, the hair and the make up and wearing them as a kind of armour to protect her from the realities of her life in New York. At age 17 Alynda ran away from home.

Alynda found like-minded ‘run-away-kids’ as she describes them, on the road whilst travelling the length and breadth of the country riding freight trains. This is a time that in some interviews she makes sound like an amazingly poetic bohemian existence and in others, a dangerous time where survival was the most important daily task. It was at this time that they started to play in bands, learn instruments and write music.

Alynda finally settled in New Orleans and started to record self released music in 2007. The genre of this music is best described using the catchall of ‘Americana’ – fusing traditional American folk with notes of protest, punk and more traditional blue grass instrumentation and style. Their first label-released album was in 2011 with 3 others following between then and 2014. Alynda speaks of a dissatisfaction with the lack of representation of her Nu Rican heritage in her music which perhaps explains the 3 year gap before the release of the Navigator. And we’re back to where we started. The Navigator is a proper rock album, a love letter to her New York experience and the Puerto Rican diaspora.

Despite the critical acclaim and attention, there has been a 5 year gap between the Navigator and the AOTM ‘Life on Earth’. That 5 years is demonstrated in a not-insignificant shift in the sound of this new album. This is also their first release on Nonesuch Records. It feels like the album sounds as it does, at least partly due to the relationship between Alynda and the producer Brad Cook (Bon Iver, War on Drugs, Sharon Van Etten and many more). This partnership works. Alynda has spoken in interviews about the encouragement that they received from Brad to explore and to release previously held beliefs about what they were as an artists. If you fancy reading a little more about Mr. Cook this Pitchfork interview is a good read ‘Is Brad Cook your favourite indie band’s secret weapon?’ The production is both low-fi / low-key but also feels very polished at the same time. Alynda’s voice sounds amazing on every track, as much to do with her incredible voice but still, it has been recorded beautifully.

In a podcast that I will link later in this write-up, the podcast host uses a lovely turn of phrase ‘I hear the energy of … in this album’. This is a phrase I will shamelessly steal (now and undoubtedly in the future too). I think it’s a lovely way of saying ‘I can hear the energy of these artists without the any single track, or the album as a whole, ever sounding exactly like them’. For me, I hear the energy of 70’s New York, Lou Reed, U.S. Girls, Patti Smith, Blondie, Stevie Nicks, Arcade Fire, Japanese Breakfast, Violent Femmes.

So what is this album? It’s a ‘tight as a drum’ 11 tracks, 40 mins of fiendishly catchy, guitar driven (but richly instrumented) 3-4 minute tracks. There is some seriously radio friendly vibes on this album but its SO not a sell out pop album. This is a pandemic album, I am not sure if it fits the ‘lockdown’ album tag, but i think it speaks strongly to the paranoia and claustrophobia of the last 2 years. The lyrical themes are world weary, often dark, rarely truly uplifting except for the album closing ‘Saga’ which while it is uplifting its about choosing to thrive rather than simply survive. To sing so beautifully about such dark themes in a pop song reminds me of U.S. Girls and Japanese Breakfast at their best. The thrive vs. survive motif really reminds of the sentiment of last years ‘Jubilee’ by Japanese Breakfast and I am very happy about this.

Alynda describes this album’s sound as ‘Nature Punk’. And I think I get that. It has a lot of natural, acoustic sounds. There are a few synths providing atmospheric drone to a number of tracks but otherwise this is an album of acoustic guitars, pianos, simple drum kits, all sorts of percussion and even woodwind and some lovely horns popping up here and there. The result, overall, is that this is a very percussive album. One of the reasons I described their backstory is because I can hear the rhythm of the freight train living in many of these tracks. That chug, chug sound of the tracks can be found on some tracks in an acoustic guitar and in others the percussive use of the piano. The street performing run-away-kid-band background can be heard in the really simple kick drum and snare drumming … I don’t think there is a single cymbal on the whole album?

In terms of standout tracks … well there’s not a weak track on the album. No, they’re not all radio friendly indie bangers. There are beat-less, self reflective tracks that break up the ‘poppier’ tracks. But ‘Pierced Arrows’ is the obvious stand out single …

… but ‘Pointed at the Sun’, ‘Rhododendron’ and ‘Saga’ are not far behind in terms of radio-friendly memorability. ‘Rhododendron’ is my favourite track but I also love ‘Precious Cargo’ which explores the migrant / refugee experience and what awaits them when they arrive in the US.

I think this album is so accessible. It’s so easy to listen to and easy to consume multiple times in one sitting. There are of course layers, really engaging with the lyrics helps to open a new layer to the album. However, as always, learning more about the artist helps you to really get into the layers that lie below. With this mind, and because I am more of a listener than a reader, I am linking a few podcasts below that if you’re that way inclined, will help you to get even more out of this album.

I hope you enjoy the album as much as I am enjoying it. If this isn’t in my 2022 top 10 then it will have been a great year of music. But I suspect this will be right up there, it feels like it’s been hand crafted just for me.

Some things to listen to;

The following is a straight up, great chat between 2 guys about this album, it’s an interesting take on the record – Blind Tiger Record Club Podcast

This is an interesting interview with Alynda recorded in March this year, following the launch of the album – Launch Left Podcast

This one is a great listen, recorded back in May 2020, this is an interview on Radio Menea, a podcast about music from Latinx artists. The conversation covers a lot of background from Alynda’s life that sets the scene for the conversation on the Navigator but there are nods to the music that we hear now on Life on Earth – Radio Menea Podcast

Now this one is a little different. This is an interview with Alynda from a podcast called Living in This Queer Body that is described as ‘a podcast about barriers to embodiment and how our collective body stories can be bring us back to ourselves’. It’s not a straight up and down chat about music, it’s a spiritual discussion about the human condition … I found this one to be the most revealing in understanding Alynda as a human and an artist – Living in This Queer Body Podcast

Posted in Album of the Month, Music chat, New Albums, podcast

April AOTM: Dragon New Warm Mountain I Believe In You

Ah, the double album. What a complicated thing you are. How many double albums would make a better single album? Well, all of them, you could argue. But I think that, at its best, a double album that can offer something so much richer, shaggier and more honest about a band/artist and where it’s at than a nicely curated single. I’m thinking Sign ’O The Times. I’m thinking Tusk. And, of course, I’m thinking The White Album.

What do all those albums have in common? They’re sprawling. They’re free-wheeling. They encompass quite a few different genres and sounds within one record. Sometimes, they’re a sound of a band creaking at the edges, or falling apart. Oh, and they probably have a track or two we could do without. Not even the die-hardest Beatle fan (and I speak as one) would cry many tears if Wild Honey Pie or Don’t Pass Me By had failed to make the White Album final cut.

So where does Dragon (please don’t make me type out the full name of the album, which I’m sure we all agree is a fucking abomination of a title) sit amongst this? I guess we have to first acknowledge the extraordinary rise of Big Thief. The Brooklyn based quartet seem to have hit a crazy sweet spot somewhere between Americana traditionalists and indie wunderkinds. They encompass both the hipster Brooklyn where they live and the rural Minnesota and Texas of Adrienne Lenker and Buck Meek’s childhoods. Over the course of 5 increasingly confident albums, they’ve gone from new kids on the block to Grammy nominations and critical adoration. People FUCKING LOVE Big Thief. I’m one of them.

I first came across them about 5 years ago when I saw a Tiny Desk concert. The sound! The intensity! I was immediately smitten:

And yes, despite that, there is something elusive about them. I love them, but I couldn’t quite put my finger on why they seem to do this stuff better than any of their contemporaries. Throw a rock in Brooklyn, and presumably you’d hit someone from an Americana indie band on the head. Is it just the songwriting? The passion of Lenker, and the interplay between her and Meek? Their appeal is hard to quantify. And as they’ve got bigger, there’s also been the beginnings of an inevitable backlash, a kind of ’what’s so special about Big Thief?’ This excellent NYT podcast does a good job of exploring this, especially as the host is one of those doubters: https://podcasts.apple.com/gb/podcast/the-enigma-of-big-thief/id120315823?i=1000552637027

So what about the album? Christ, where to start? Well, it feels both like a progression from the excellent U.F.O.F. and Two Hands albums, and a giant leap forward – and perhaps also sideways, up, down, and in several directions at once. The variety of the songs is a bit dizzying, and it takes quite a bit of time to digest. Indeed, I still tend to listen to either the first or the second half of the album in one sitting, which is perhaps a strong hint that it’s almost TOO rich at times. In fact, if I’m being honest, I was confused about my initial response, and that was partly because the band had been slowly leaking songs onto Spotify, and EVERY SINGLE one of those songs were astonishing – so the more rag-tag, messy nature of the album felt almost like an anticlimax at first.

But as I stuck with it, every part of it began to grow on me. I started to love the stylistic changes, the random turns left and right. I began to enjoy the journey, the ambition, the blind optimism of committing this many songs to disc and having the confidence to just chuck it out there and let the audience work it out for themselves. I don’t think it’s always an easy listen, and it certainly has some weaker moments amongst many absolutely breathtaking songs.

Before we get into the songs, I want to say that I found it really handy breaking it up into the 4 parts of the album. It really helps make sense of the record and of the sequencing.

DISC 1/SIDE 1

The first few songs set up the schizophrenic nature of the album – CHANGE is classic Big Thief, as astonishing that might be one of the best songs they’ve ever written. TIME ESCAPING is a totally different beast, like a wonky pop song with that strange industrial rhythm section. And then, third track – WTF, they’re doing a really goofy country song, SPUD INFINITY, with a title as daft as the track. It’s certainly bold curation, I’ll give them that! CERTAINTY is a lovely duet that heads back into Laura Cantrell-style modern country. And then DRAGON (the title track) – what a glorious song, like a lost Dolly Parton ballad.

SIDE 2

Opens with SPARROW, which perhaps outstays its 5 minute run time, the first track I felt wasn’t quite essential. But then – boom! – into Cocteau Twins (yes, really!) territory with LITTLE THINGS. Couple of tracks later, FLOWER OF BLOOD sounds like a 80s/90s 4AD band, all feedback and grungy guitars. Next track BLURRED VIEW is a creepy lo-fi thing, with crappy drum machine (or crappy drums!) and Adrienne whispering/muttering darkly into the mic. Repetitive and weird. On we go.

DISC 2/SIDE 3

What an opener. RED MOON is a personal favourite, a proper Lucinda Williams country song that’s robust and cheerful (‘that’s my grandma!’). NO REASON is another astonishing ballad and another highlight, with a chorus that will not leave your brain. This song runs round my head all the time. WAKE ME UP TO DRIVE is a bit of a dirge, but I like its lo-fi energy. But A PROMISE IS A PENDULUM is amazing, delicate and lovely.

SIDE 4

So this is maybe where the album runs out of steam for me a little. Yes, it has one of the very best tracks on the album, SIMULATION SWARM. But I do wonder if too many of the last side’s tracks feel like a retread of earlier material. 12,000 LINES is lovely, but LOVE LOVE LOVE’s crunchy indie is a bit exhausting. THE ONLY PLACE feels like quite a minor tune. BLUE LIGHTNING is a lot of fun and sounds very much like the jam session it undoubtedly is, but by then I’m exhausted! And when I listen on Spotify, I often find myself thinking – oh is this the last song? And it’s not. Not a good sign!

So there we have it. It’s glorious, it’s confusing, it’s a mess, it’s ambitious. I guess the big question is – why did they make a double album? My guess is that they wanted to stretch their wings. They’ve made glorious single albums that work as a whole. They’re clearly prolific – look at the fact they released TWO albums – both amazing – in one year in 2019. They seem to me, on listening to this, that they’re just bursting with ideas, and they wanted to try out as many as possible. Whether that works for you will depend on how much you like ’em in the first place, and how tolerant you are of all these experiments, some of which are pretty free-wheeling.

For me, it works. It’s a wonderful album with some of the best songs of their career, but perhaps it just outstays its welcome a tiny bit. Having said all that, are there many songs I’d cull? Not really. Could they have made a more succinct single album? Well of course they could. Do I love that it’s a double album? I bloody do. Do I feel like I know the band better as a result? You betcha. Is it an occasionally frustrating listen? Of course it is: it’s a double album.

Posted in podcast

Podcast Episode 21 – Metronomy – Small World

Ep 22 – Big Thief – Dragon, New Warm Mountain … This Is Not Happening – An Album Of The Month Podcast

Last month we shared our thoughts on Small World by Metronomy, all 9 tracks and 35 minutes worth. This month This Is Not Happening ups the ante with 'Dragon, New Mountain …', all 20 tracks and 80 minutes worth.  In part 1, we deep dive into the density of Big Thief and Part 2 we play 'Spin It or Bin It?' where we judge the tracks that we've chosen for this month's theme.Part 1 – Album of the MonthThis month it's David's choice, 'Dragon…' by Big Thief. Three of us love Big Thief and have more than a passing relationship with the band … whilst one of us is a Big Thief virgin. There was SO much written about this album as soon as it came out including a number of 100% reviews.  As always, we take a slower, more considered approach to criticism, living with this album for a couple of months and letting it really settle in before we reflect and share our views.You don't have to look to far to find interviews, reviews and videos on Big Thief and this album but some of the content that we consumed and discussed in part 1 can be found below;The Metacritic review page is always a goo start and can be found hereThis is a great listen – 'Out On The Line' Podcast Really insightful take on the album – 'Taking it Down' PodcastIf you love them … or not, this one's got you covered – 'NY Times' PodcastA great article in Vulture – read it herePart 2 – 'Spin it' or 'Bin it?'In the second part of this episode we get stuck into 4 tracks representing this months theme – 'Not on Spotify'. We all pick a track,  introduce our track and ask the others the painfully binary critical question; 'spin it' or 'bin it?' This month was a little more 'free form' than usual … but an amusing listen none the less!Guy's track selection is – Prassay – KrvsinDavid's track selection is – Nick Drake – I Was Made to Love MagicNolan's track selection is – Pharoahe Monch – F YouJoey's track selection is – Joanna Newsome  – '81Next MonthEpisode #23 will be with you soon – Joey will be leading the discussion on 'Life on Earth' by Hurray for the Riff Raff. If you get the chance we'd love you to have a listen and perhaps share some thoughts with us on the blog or on our Insta. This album's getting a lot of positive attention and we think it's going to be in a few year end lists.Other episodes of the pod and 10 years of the blog;If you enjoyed this episode, please check out the others. If that's not enough for you then there's 10 years worth of music discussion on the blog at http://www.thisisnothappening.net, which runs alongside the podcast choices and much, much more. So check them out so to see what we like and where we clash, and comment if something catches your eye. We'd love to see what you think.  
  1. Ep 22 – Big Thief – Dragon, New Warm Mountain …
  2. Ep 21 – Metronomy – Small World
  3. Ep 20 – Album Club – Modern Classics
  4. Ep 19 – Joy Crookes – Skin
  5. Ep 18 – Our Top 10 Albums of 2021

Following last months’s Album Club #1, This Is Not Happening returns to our traditional format. In part 1, we deep dive into an album that one of us has selected. In Part 2 we play ‘Spin It or Bin It?’ where we judge each others track selections of great new music from 2022.

Part 1 – Album of the Month

This month it’s Guy’s choice, Small World the new album by Metronomy. Spoiler Alert – Metronomy are one of Guy’s favourite bands.  We discuss our expectations, reactions, reflections, dynamics in the band and if every album being released at the moment is in some way a ‘lockdown album’. 

Some interesting ‘bits’ to check out;

  1. The Metacritic album review summary can be found here
  2. An interesting interview with Joe Mount for DIY Mag can be found here
  3. Joe Mount doing an Instagram Live Q&A can be foundhere

Part 2 – ‘Spin it’ or ‘Bin it?’

In the second part of this episode we get stuck into the MASSIVE amount of great music that has been released in 2022. We all pick a track,  introduce our track and ask the others the critical question ‘spin it’ or ‘bin it?’ We then decide on a track of the month from the list of 4.

Nolan’s track selection is – Pusha T – ‘Diet Coke’
David’s track selection is – Sasami – ‘Call Me Home’
Joey’s track selection is – Holodrum – ‘Low Light’
Guy’s track selection is – Ibibio Sound Machine – ‘All That You Want’

A link to a mini-Spotify-playlist of these 4 tracks can be found here.

In order to make our selections, we all create a long list, then shortlist 4 tracks each. The 16 tracks that make up our track shortlists can be found here.

Posted in Album of the Month

AOTM – March – Metronomy – Small World

It’s about time, really. 21 episodes in and I’d been waiting for a new Metronomy album to arrive so we could finally cover it on the podcast. Disclosure: there’s no point in pretending otherwise, but I’ve been an unashamed fan since the blog started in the dim and distant 2010s, and in my mind, they’re a band that should fit right into the middle of our sprawling Venn diagram, so I was surprised to find out that Joey and Nolan weren’t nearly as familiar with them as I thought. Challenge accepted: at least as with many things, I have Pop Being David for company here. But I still wavered, with February’s avalanche of great new music from the likes of pod favourite Mitski, psych rock Animal Collective, Trentemoller as as well as heralded new year picks from Bonobo and Yard Act. In the end though, I couldn’t pass this up. I’d have kicked myself. And when I second guess myself I end up in the Talvin Zone ™.

My love affair with Joe Mount’s musical outfit began as it did for many, back in 2011 with their third album: The English Riviera. Its the record that really ‘broke’ the band, with its wry take on life and love in the English south coast and Mount’s home town of Totnes in Devon. Along with headline-grabbing singles The Bay and The Look came tales of small-town ennui, love, loss and introspection, all played out on a canvas of synths, crisp percussion, guitar licks and funk bass, and I was smitten. Yes, they were clearly a pop outfit, but they crept into the far more interesting territory of ‘alternative’ British pop music that had something to say, and an intriguing way to say it. For all the chart-ready vibrancy of the singles, there also sat musical beauty and character from the likes of Some Written’s soft tones, sultry funk of We Broke Free and the kaleidoscopic closer Love Underlined. It marked out a step up for the four-piece, whose line-up had been reworked and for whom Mount, as the driving force was proving his rare talents as – in my eyes at least – one of the country’s best singer-songwriter-producers.

I have very specific memories of the album too. I came to love it in the slightly surreal surroundings of Monaco. Having ligged onto a trip to the Grand Prix weekend with friends David and Will that worked in the feeder GP2 series, I was listening to its unfurling eleven tracks on the actual Riviera. I feel that Joe Mount would’ve enjoyed that irony (hi Joe, if you’re reading). So I’m always treated to both a really vivid recollection of the surroundings I was in, and a hark back to the start of my love affair with the band. I’ve not been back to Monaco since, but then I don’t need to. I just fire up the strings in that opening and I’m there. That led me to their underrated predecessor, Nights Out, which had its own idiosyncratic attraction, less so to the bedroom debut guitar/synth mish-mash Pip Paine (Pay The £5000 You Owe), but from which a lineage through to their later albums could still be traced. I gorged on the lot. I had found a band that I could love in the same universe at Hot Chip and LCD, one that took a more mainstream template and bent it to their own shape.

Before 2022, David actually chose their last album – the excellent Metronomy Forever – as one of our monthly picks in the ‘before times’ of 2019, but it’s a surprise searching back through the archives that it appears the only time we’ve done it, (though I’m convinced we did pick the English Riviera back in the proto-blog days of Posterous, at least as something we all listened to). It’s been a joy waiting for each album to come out, from the 60s-pop window of Love Letters, through the out and out punch of Summer 08‘s window to the pre-English Riviera years, through to the precursor to Small World, the more sprawling and interesting Metronomy Forever. Every one of them has brought new songs to love, new skills to marvel at, and an ever-growing adoration for Mount’s skills. All the while he’s been behind Metronomy’s success, he’s a modest but brilliant producer whose work’s been part of output by everyone from Robyn to thecocknbullkid and remixing everyone from Gorillaz, Goldfrapp and Lady Gaga, while being a big element in the supergroup of production talent on early pod favourite Jessie Ware’s ‘What’s Your Pleasure’?

Enter: Small World. Timing is everything, and many great albums from artists we love have missed the window for an AOTM: Caribou, Roisin Murphy, in recent times stood out here. So I have gambled somewhat on giving ourselves a compressed sixteen days from release to record, with this post coming only ten days in. We’ve had some albums for ten times that before now. But we’ve already had a taster in the shape of two excellent singles – Things Will Be Fine and It’s Good To Be Back (check the videos that top and tail this post) – to grace the start of 2022. An album of 9 songs over thirty-five minutes should be easy to gorge on. I just hope that it won’t be too short a time to hit that magic mark where you really fall for a record. After all, I showed with The Weather Station that it’s easy to be unsure when we record and to have changed your mind by the time we put the episode’s out. A very first world problem.

But I needn’t have worried, because Small World is an absolute joy, stripping back the layers while extolling the simple pleasures in life after the great reset we all felt. But it is also a marked departure. Musically, it’s still clearly tres Metronomy but there are some significant, if intriguing changes to the normal synth-pop template. The main one of these is the synths: they’re not absent, but very much on the fringes, something that feels unheard of for the band, and that may risk rubbing lots of fans right up the wrong way.

In fact, on the record sleeve – and I gloried in the vinyl here, something I’ve started most days working from home with in the background – Mount stated that the idea was to have none on the record, only piano and hammond organ. And a brilliant quote on their Instagram that’s both serious and self-deprecating that sums up the band in many ways: “I thought I’d like to do something musical, that isn’t very electronic…. someone taking themselves a bit seriously and thinking they should do a Nashville record. It’s almost a midlife crisis”. It’s funny because it just is, but also because Joe Mount is entering mid life. And while it doesn’t quite work out as synth-free, piano and acoustic guitars are very much a running motif of the album, from the cascading melody in the slow-burn opener Life and Death.

The tone is set from the off as one of change: middle age, family, introspection, anxiety, growing old. All things we’ve seen many times from artists that have gone from loose-limbed twenty-somethings to 40-somethings, looking back on their youth and forward into the future, but for Mount, whose musical character has been so steeped in pop and its youthful slant, this is something that comes with risk. And it’s album that’s much more personal, as he admitted in a recent excellent interview with DIY mag. “I’ve always thought that pop music is for teenagers, and I’ve always thought that I make pop music. So if what I do doesn’t interest those people, then I’m not doing very well.

In Life and Death, there’s a bleakness to the lyrics that runs through the album at times, as Mount, far more than before, shifts from love, loss, parties and an ironic twist on English life to move himself towards the centre of the action: “It was fun what I did /
Got a job, had some kids / See you in the abyss”
, both perhaps a personal state of mind but also a reference to the two years the album took shape in, one where we all got more accustomed to both life and death itself. Not perhaps the sound of a content man, but it’s never quite clear with Metronomy how much is for lyrical effect and how much is real, because his relocation to the country and his first purpose-built studio has found him far more balanced with the life of a parent pop star than he’s sounded in years.

Trying to ascertain the feel for a new album is tricky. It takes time and investment, and there’s a (pleasing) bump in the road with Small World where, after the opener, the two singles then come in succession. Taken in isolation – they are almost the two tracks most out of step with the album’s palette. But when they sit in the first side of the 9 tracks, they actually take on a different hue. Things Will Be Fine’s nod to teenage angst (caused by the film that shocked many in this country, Raymond Briggs’ harrowing When The Wind Blows) can’t stay in the darkness too long: “I might save the day, i might change the world… Things will be fine. It also referred to a mantra Mount was telling his children through the last two years, blending real life into the band’s more oblique metaphors of the past, and accompanied by a brilliant video that harks back to each of the band at 15). And its breezy guitar strums very much out of the 60s pop mould push things along, in a way that wouldn’t feel out of place on Love Letters. It’s Good To Be Back’s infectious lightness also is hard to avoid (along with the brilliant, strange video, a medium the band have always enjoyed to great effect since The Look). It’s the song that stuck in my head through January, but it’s after this opening salvo where things get interesting. It’s not diminishing those tracks, but ultimately, the lead singles will always feel a little incongruous when you’ve gorged on them before the album arrives.

It may be reductive to paint Small World’s change in tone as reducing the band’s strengths (and some have crudely done that) but I’ve found the album to be a continually rewarding and engaging experience, and it’s down to the subtle shifts in direction and style throughout that provide this again and again. There’s an argument that I definitely acknowledge, that when you strip away the synths and the bounce of so many of their previous tracks, that there’s potential exposure of some lyrical lack of adventure that Metronomy have been painted with the past. I see that. But it’s also doing a disservice to the beauty of the melodies and the near-perfection arrangements in this record too. Plenty of great pop music doesn’t need to be profound or lyrically mesmerising. Simply saying ‘this isn’t like Salted Caramel Ice Cream‘ is just stating a fact. To me, either you love Metronomy in all their forms or perhaps you rethink what your musical directions are. I mean, this is hardly Kid A here. Many of these songs could slot into an existing album without much effort, it’s just the whole narrative that feels different. But as much as many of their albums to date, this feels fully formed and whole.

Continuing the A-side (sorry, mp3 crew), Loneliness on the Run’s 90s-esque intro of plucked bass makes me think of Weezer and the yesteryear US-garage indie scene, but soars into a different space from its harmonies, adding a sprinkle of light in a starry melody in the break. Even as it moves along, there are unmistakably familiar splashes in each song. And vocal harmonies are a BIG, beautiful part of the record, elevating what feel like more formulaic tracks to something much more beautiful. If pianos are one motif, then acoustic guitars and harmonies are very much the other two in the triumvirate of what Small World does differently.

In the middle of it all, sits my album favourite: Love Factory. There’s a real 70s/80s AOR vibe on it, with its vocal interplay – not hard to see the lineage from Mount’s love of the likes of Steely Dan to this moment – and its treatment of love as something perhaps less romantic and spontaneous but ‘churned out’. There’s irony here – as the protagonist tries to show his usefulness in the face of the ‘factory’ production line – but the melody carries the song along on a cloud. Lyrically, it’s perhaps the simplest and most straightforward of the album but Mount’s talked about the song being ‘relentless’ here, with its looped melody and listing verses. But the fuzz guitar and circular piano phrases have had me woken up in the night singing its notes. That is hard to reject.

Lost My Mind is an interesting curveball, even as it shares some familiarity. The literal and metaphorical losing of one’s mind in the pandemic: ‘how friends of ours in quite different situations were just in apartments, on their own, feeling very isolated and out of touch‘ was another quite personal statement from Mount. But the music really evoked something specific in me. I felt a real Bowie energy here, with a sprinkling of Eno in the strange choral/vox synth chords, before the piano wig-out that closed the song. It really is hard to shake that feel, so I am fascinated if any of the group’s Bowie antennae felt similarly tweaked. At the other end of the pendulum, Right On Time (complete with a suitably daft skydiving video) urges us to try and ‘enjoy the sunshine’, even as we all sat in Covid-gloom. That even while things were scary and sad, there are simple pleasures we can take in.

The album closes with two more intriguing tracks. The first is a rare guest on the album outside the Metronomy universe: Hold Me Tonight sees Porridge Radio’s Dana Margolin join into what is arguably the most straightforward love song on the record. A tale of desperation and hope, unrequited love as Mount’s verses. It’s a relatively breezy 90s-esque indie pop jangler until Margolin’s striking vocals enter at the halfway mark: ‘so you found the courage / do you regret it yet / it’s not what you wanted / but I guess it’s off your chest’. I think it’s a fascinating dynamic where the male vocal is higher than the female, and less powerful, playing with the balance on literal and metaphorical levels. And a song that was a totally different slant, almost binned and then resurrected when Mount sent it to Dana for her input, turning it into a desolate and unexpected response. It’s a masterstroke of serendipity. I’ve listened to it so many times – and as someone that’s not really come across much of Porridge Radio – and I can’t quite place who the vocal makes me recall. I’d want to say Robert Smith but that doesn’t feel quite right. But it’s a definitely welcoming development and one of the standout tracks.

Closer I Have Seen Enough I first thought was a bleak tale of a failed marriage – we can watch the flowerbeds rising / Each year our children grow / I will sit with you in silence /
As we watch our favourite show
” – but it’s much less specific than that, of course echoing the pandemic, but also again urging us to enjoy the small, simple things in life. For a song that’s quite slow and maudlin, it’s quite the sleight of hand, actually having such a positive message. It’s also odd that it was originally planned to be sung in French. Mais non.

In living with this album almost endlessly for the last ten days, I’m naturally concerned that I’m going to be prejudiced not only by my own gasping adoration for the band, but also a need to step back and try and gain some perspective away from the churn of dozens (twenty now? more?) of listens that have made me love it more. But I could easily burn it out, and by the time we record (in a week) be sick of it. Or at least see it lose its lustre and perhaps edge closer to some of the ‘yeah, it’s lovely but….’ critical responses. But right now, it’s an album I can’t put down. And having waited three years since its predecessor, and seen such a departure, it feels much more like one whose ‘woah’ softens with each listen, and by now, just feels as Metronomy as ever. It also makes me wonder where their next album will go, and feel already excited about that.

I wonder what the others will make of it. I suspect I may be flying a lone flag here. I know brother @davidhallison is a big fan of the band, and should really like this, but I’m not so sure. And as the record approaches, it always gets more shaky when it’s a band you adore. Is it – as it has from others first reactions – ‘not Metronomy enough’? And for @misterstory and @nolankane706, perhaps too much of a departure from all those Metronomy bangers of the past? But I really do think this is an album – and that’s what we’re here for aren’t we? – that works as well as any of their previous ones as an entity. It is quintessentially English, has a theme, is perfectly short, and taut, arranged beautifully, and makes me want to go for another listen again and again (even if I have to turn the record over, at least I’m getting out of my chair). I may not convince everyone of this. But perhaps I don’t have to. I’m happy with it. Things will be fine.

Posted in podcast

Podcast Episode 20 – Album Club – Modern Classics

Ep 22 – Big Thief – Dragon, New Warm Mountain … This Is Not Happening – An Album Of The Month Podcast

Last month we shared our thoughts on Small World by Metronomy, all 9 tracks and 35 minutes worth. This month This Is Not Happening ups the ante with 'Dragon, New Mountain …', all 20 tracks and 80 minutes worth.  In part 1, we deep dive into the density of Big Thief and Part 2 we play 'Spin It or Bin It?' where we judge the tracks that we've chosen for this month's theme.Part 1 – Album of the MonthThis month it's David's choice, 'Dragon…' by Big Thief. Three of us love Big Thief and have more than a passing relationship with the band … whilst one of us is a Big Thief virgin. There was SO much written about this album as soon as it came out including a number of 100% reviews.  As always, we take a slower, more considered approach to criticism, living with this album for a couple of months and letting it really settle in before we reflect and share our views.You don't have to look to far to find interviews, reviews and videos on Big Thief and this album but some of the content that we consumed and discussed in part 1 can be found below;The Metacritic review page is always a goo start and can be found hereThis is a great listen – 'Out On The Line' Podcast Really insightful take on the album – 'Taking it Down' PodcastIf you love them … or not, this one's got you covered – 'NY Times' PodcastA great article in Vulture – read it herePart 2 – 'Spin it' or 'Bin it?'In the second part of this episode we get stuck into 4 tracks representing this months theme – 'Not on Spotify'. We all pick a track,  introduce our track and ask the others the painfully binary critical question; 'spin it' or 'bin it?' This month was a little more 'free form' than usual … but an amusing listen none the less!Guy's track selection is – Prassay – KrvsinDavid's track selection is – Nick Drake – I Was Made to Love MagicNolan's track selection is – Pharoahe Monch – F YouJoey's track selection is – Joanna Newsome  – '81Next MonthEpisode #23 will be with you soon – Joey will be leading the discussion on 'Life on Earth' by Hurray for the Riff Raff. If you get the chance we'd love you to have a listen and perhaps share some thoughts with us on the blog or on our Insta. This album's getting a lot of positive attention and we think it's going to be in a few year end lists.Other episodes of the pod and 10 years of the blog;If you enjoyed this episode, please check out the others. If that's not enough for you then there's 10 years worth of music discussion on the blog at http://www.thisisnothappening.net, which runs alongside the podcast choices and much, much more. So check them out so to see what we like and where we clash, and comment if something catches your eye. We'd love to see what you think.  
  1. Ep 22 – Big Thief – Dragon, New Warm Mountain …
  2. Ep 21 – Metronomy – Small World
  3. Ep 20 – Album Club – Modern Classics
  4. Ep 19 – Joy Crookes – Skin
  5. Ep 18 – Our Top 10 Albums of 2021

We usually pick a (relatively) new album release to focus on but this month we changed things up. The start of the year is a funny time for album releases and 2022 was no different. We decided that rather than spend a month and a podcast talking about something that we weren’t too passionate about, we’d take a different path.  This month is the first TINH ‘Album Club’.

The format for this podcast is simple. The four of us all (randomly) chose  someone from the Team-TINH to pick an album for. The album should be from the past 10 (ish) years and should represent something special that the recipient might have missed. A modern classic perhaps.

This episode was loads of fun to make. There’s loads of agreement, a little bit of niggle, a fair chunk of nerdery … something for everyone. The following are the albums that we discussed, who chose them, who they were chosen for and some links that take you to some of the things that popped up in the discussion.

First-up – Joey chose Deerhunter’s 2010 ‘Halcyon Digest’ for Guy;

You can listen to the album here on Spotify
… or catch it on YouTube here
The ethereal video for Helicopter can be watched here
… or watch them perform the poptastic ‘Memory Boy’ here

Next-up – Nolan chose Kanye West’s 2016 
‘Life of Pablo’ for David (what could go wrong?);

You can listen to the album here on Spotify
… or catch it on YouTube here
Nolan highly recommends NORE’s podcast interview with Kanye here
… and if 2.5hrs of Kanye wasn’t enough here’s part 2

Next-up – David chose Wye Oak’s 2011
 ‘Civilian’ for Joey;

You can listen to the album here on Spotify
… or catch it on YouTube here
Watch a live NPR Tiny Desk performance of ‘Civilian’ here

Finally – Guy chose Enny’s 2021’s 
‘Under 25’ for Nolan;

You can listen to the album here on Spotify
… or catch it on YouTube here
Watch the video to ‘I want’here
… and the video for ‘Peng Black Girls’ here

We hope you enjoy this episode. Let us know if you know these albums. Do you love them? What are your thoughts?

This Is Not Happening:
Created by JoeyNolanGuy and David.
Produced and Edited by Guy and Nolan.
Twitter: @thisisnothapng
Instagram: @thisisnothappeningpod
Email: thisisnothappeningpodcast@gmail.com

Posted in Music chat, New Tunes

Hello, 2022.

We’re through the hinterland of Dec/Jan release twilight and there’s some amazing new records out, many of which are from previous AOTM favourites. So here’s a little rundown from @whyohwhyohwhy of some picks.

Arlo Parks – Softly

A bit of a change-up, musically. Pace, a bit of a breaks/d’n’b feel and a big piano. Lovely.

Yard Act – Fixer Upper

It’s hardly novel to big these guys up, but this is a great track and brilliant lyrics.

Snail Mail – Valentine

I stumbled across this in my search for a Feb AOTM (before we Album clubbed it) and it’s really great guitar music, in the way that a lot isn’t around any more. The album is worth really checking out.

Mano Le Tough – Either Way

It’s like the album never really stopped….

The Weather Station – Endless Time

They did a new song. No one knew they were doing it. We all win.