Posted in Album of the Month

June AOTM: Arcade Fire – We

Sometimes when I agonise over choices for albums I try and deliberately pick something out of my comfort zone. Try Yves Tumor (less memorable) or Genesis Owusu (a knockout). Other times I regress to the mean, such as realising I could only pick Metronomy when Small World came around, even if I knew its reception with the group would be mixed. After that pick divided opinion, I had no obvious picks until mid-March when, out of nowhere a new Arcade Fire single dropped. Of course, this wasn’t quite the surprise: the band had been talking about a new album since 2020, but it did begin to feel like many of my favourite bands had teamed up to make 2022 the year all their new music arrived. Not just Metronomy or these guys: Hot Chip released a new single ahead of a long-awaited follow-up to Bathful of Ecstasy this summer. All I need now was an LCD and Radiohead LP (well, we had The Smile) and I had the full set. 

But when I clicked on ‘The Lightning I / II’ to listen, it was with trepidation. Because Arcade Fire’s last album was… well…. Not very good. This was a band I’ve loved since Funeral arrived to such a frenzy in (my god) 2004. Indie darlings that made music with not just two guitars, a drum kit and a bass, but violins, piano, keys, accordions, strange percussion, organs, and yes, the famous hurdy gurdy. When that was distinctly not cool. Yet, it worked. An American/Canadian collective, the band made sprawling albums that didn’t really have singles – staggeringly, only Rebellion (Lies) from back in 2004 made it into the UK top 20, and none impacted even in their own country – but were big, thematic statements that worked as a whole, from Funeral’s ramshackle tales of childhood and rural life, through Neon Bible’s dystopian statement on capitalism, through the Suburbs’ Grammy-winning take on middle American ennui.

Their work with LCD Soundsystem’s James Murphy divided opinion, but I loved Reflektor’s shimmering dance-pop-rock and up to that point every single album they made topped the half a million mark in sales, making them out as one of the few crossover bands that still made proper albums, still did what they wanted and yet headlined everywhere from Glastonbury to Lollapalooza (and who I’ve been lucky enough to see a handful of times myself). They are an incredible live band. One – for me – that of the modern era you have to see because there are so many of them, doing so many great things, and there’s real artifice and immersion in their live experience. I’m already excited about adding Manchester to gigs at the Roundhouse, Hyde Park, The o2, Victoria Park and Sonar.

All of this on an indie label – Merge (home to Caribou’s Andorra, and other indie darlings and famed guitar bands such as Waxahatchee, Dinosaur Junior, Tracey Thorn, Camera Obscura, Eleanor Friederberger, Ibibio Sound Machine, Bob Mould and Lambchop) through much of that career staked them out as a group that, despite being catapulted into stadiums, retained that grounded, principled, inventive core that still hung together, even as they worked with Bowie and released music produced by James Murphy. It was just…. Things really did go a bit south. In 2017 they decamped to Columbia’s major label musical and released Everything Now, a (supposedly) bold statement on consumer culture and the internet. The problem was, where previous work had confidently dealt with addressing broad brush themes such as capitalism and wealth, rural communities, suburban life and then crossed over the concepts with amazing, crowd-swelling music that somehow felt personal but celebrated arena-sized singalongs, this was as close to a huge band rolling a dud as I can remember. Everything Now was a big, ham-fisted misstep that scraped past half previous sales. And I say this as someone who absolutely adores this band. I can recall only a few songs from that album, and it has aged like iceberg lettuce alongside the timeless feel to the likes of Wake Up, (AntiChrist Television Blues), The Suburbs, Sprawl II, Afterlife, Keep The Car Running, Rebellion (Lies) and Here Comes The Night Time. Sure, tracks like Electric Blue and Put Your Money on Me had all the melodies, but their sentiment was empty and the connection the band seemed to be able to hypnotically form with their listener was mostly absent. The less said about the likes of Infinite Content or Chemistry, the better. Perhaps, for once, they overdid their promo campaign, with its po-faced, repetitive message. We’ll never know how much pressure they truly felt making this album, or where, perhaps the pressure of major label living pushed them, but into their 40s, it felt like a bit of an event horizon. 

So where does We stack up in their canon? The singles The Lightning I / II and Unconditional I (Lookout Kid) certainly felt like a pronounced step back to the pre-Reflektor sound (and for all that I loved that album, many fans did not). The former’s piano and acoustic / synth lead over heartfelt lyrics “We can make it / If you don’t quit on me / I won’t quit on you” with songwriting partners, husband and wife, and lifeblood of the band (now Win’s brother Will has recently left), Win Butler and Regine Chassange combining as of old, tugging at those heartstrings and staring into each others’ souls before the song changes up into a new gear, evoking Funeral as much as anything. And Unconditional I (Lookout Kid) finding Butler in tender mood, singing to his child, and feeling immediately personal in a way that much of the last two albums weren’t. I fell in love with these tasters, and had such high hopes. But I also worried this may be ‘the Small World’ effect though, with two great singles and an album that was markedly different to that first look – though of course I loved that record – and left many fans somewhat deflated. 

First impressions? Mixed. Alongside the much more honed 10-song, 40 minute album that felt a subtle acknowledgement of their recent over-long and sprawling efforts, this was a far tighter, more focused record. No surprise given they had Radiohead producer/god Nigel Godrich in charge. But while the music was immediately fantastic, its two-side, earnest concept perhaps felt the band hasn’t quite rid itself of the need to make some high statement. Each album now seemed to have a ‘theme’, an ‘outfit’ and while part of me salutes the art-rock sensibilities of a band that wants their music to have meaning, and the balls to wrap it up in statements about the world, life and humanity, it works best when it’s subtle and not written in ten foot high letters with accompanying shiny text. The two sides ‘I’ and ‘We’ and some fairly clumsy track titles – ‘Age of Anxiety’ is very much what we’re living in but do we need to have a song title to emphasise it? – and some equally clunky lyrics – it’s taken me a long time to not wince when ‘Unsubscribe’ (in End of the Empire IV), and you wonder if a lot of the recent criticism of the band would have been softened if their method was slightly less overt. Because they are (in my opinion) earnest, heartfelt people, who care, and are not embarrassed to say it – their often unpublicised charity work in particular sets them out from a lot of contemporaries – and their songs are all around connection to each other and the world, and work best when it’s intertwined with the music and not stamped on the front before you press play.

The good news is, the more you listen to We, the more this fades into the background, and a really good, uplifting album emerges from the bold pronouncements. I’ve been listening to this for weeks on end and it’s an absolute joy to have in my life. I’m aware I may be partly or largely alone here, but I also say – like any of our AOTMs – this needs time and dedication to get the rewards. Because this is a band that is all about connection and when they are at their best they feel like you’re connected with them, their music, and each other. As an example, I still have a real visceral connection and reaction to the lyrics in The Suburbs, that only amplified when I became a dad: “So can you understand / That I want a daughter while I’m still young? / I want to hold her hand
And show her some beauty before this damage is done / But if it’s too much to ask, if it’s too much to ask / Then send me a son.”
And in their best moments, they make you feel like their songs are written for you. It’s how I feel with so many great songs, and with many of the band’s previous best, from Reflektor, Sprawl II, Intervention, Wasted Hours, and so many more. These are songs that evoke primal emotions in me, and that’s what I search for in music, and why I’ve loved Arcade Fire’s music for the best part of two decades. You can’t manufacture that feeling (yes, the feels) and for them it’s there, and has always been there.

There are so many moments of this on the album of me. And even though it’s got faults, my overriding feeling is joy and release when I lock the headphones in and leave the rest of the world behind for 40 minutes. I have had a hard time of late, and this album has been a real solace for me. Age of Anxiety has…. well, it’s a good opener but the opening piano chords link irreparably to another song and band I can’t now shake and that’s put a dampener on it a little for me (and apparently has Father John Misty ‘on handclaps’). I’ll let others see if they pick this out the way I have. But while it’s a little obvious lyrically, what we get with We is that overriding ability for Arcade Fire to write great tunes. There are hooks all over the place here (as @misterstory might say) and when the drums kick in and the energy goes up a notch, I just can’t help but we drawn in. Rabbit Hole is an unexpected banger, full of nods to Bowie (‘Plastic Soul… yeah’) and shows some of the evolution of the band in recent albums to embrace synths as well as guitars and accordions. It really does it for me, like Sprawl II on a great big pill and some strobes. End of the Empire, while opining witheringly but delicately on the ‘fall’ of the United States, is such a great example of the band’s skill, and how they start slow with mournful piano and then just uplift more and more, and there’s a real ‘Suburbs’ feel on this. And its second part, once you get over ‘the unsubscribe thing’ it’s a really beautiful song. There’s a cosmic feel to some of this, perhaps a concoction of Godrich’s work with Radiohead and a hangover from some of their best work with Murphy.

But it’s on the second side (‘We’) that the album really elevates, with The Lightning I and II, and Unconditional I and II, a pair of pairs (if you will) that show the band at their best, and most personal. Lookout Kid is a track I fell in love with at the start, and it’s now a song my daughter loves and asks me to put on. So it’s an added personal connection, but it’s how Arcade Fire’s alchemy works too, somehow seeming to have written songs directly for you and that resonate with what you are feeling. As a father with a young daughter, it feels so aligned with so much of my emotions and brings tears to my eyes every time I listen. That is all you can want from music, after all. Part II surprisingly brings Peter Gabriel into the mix and it really works. It’s a rousing end to the album, which has a soft and glowing coda in We, with its simple arrangement and ability to slow us down and signal the album is over. Musically, it ticks so many of my loves for the band, but I know it’s only how I feel.

The other intriguing narrative here – and one we will probably touch on in the podcast – is, over the course of their music career, that well-trodden path from small-town gigs to stadium rock, and how that affects a band and their output, and how that changes how they see themselves and we look back at them. You can’t be the same people – even if you are married to the other singer and writer of the band – over 20 years, 6 albums, and an arc from small-town band to global rock stadium superstars, fighting to retain as much of what made you that fascinating proposition in the first place. I can’t think of many bands that have what they had back when, or that have currently progressed through this curve like Arcade Fire have. I’m willing to fight for this, too. They have been at times world-beating, and at others, seemingly off course and unsure of themselves. How do you write songs about your ‘Neighbourhood’ when you don’t live there any more? You can’t, of course, but I think they’ve maintained a lot of their character and style – despite many missteps – and We gets them back towards where so many want them to be. Of course, we don’t get to dictate where a band goes, or what music they make, but there’s something vital about being with them on that journey as they grow and change with us. It’s no coincidence that so many of my favourite bands of the last 20 years – Arcade Fire, Radiohead, Hot Chip, LCD Soundsystem, Metronomy – are around my age or so and I’ve taken that same journey with all of them. It’s what welds us to these artists, that connection, feeling part of their story and their own arc and changing with them.

It’s why I love this band, and why I always will.

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

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 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.

Posted in Music chat, New Tunes

The Return of Mitski

Mitski – The Only Heartbreaker

We loved loved loved Mitski’s Be The Cowboy in 2018, and she’s back with a new album – Laurel Hell – in February 2022. Before this lands there’s a fantastic new EP, which takes in 3 sumptuous tracks including this upbeat, synth and guitar-pop of The Only Heartbreaker. Roll on next year!

Posted in podcast

Podcast Episode 17 – Mano Le Tough – At The Moment

Ep 24 – Kendrick Lamar – Mr. Morale & the Big Steppers This Is Not Happening – An Album Of The Month Podcast

Our last Album of the Month (AOTM) was the beautiful 'Life on Earth' by Hurray for the Riff Raff. This month the  This Is Not Happening crew tackle Kendrick Lamar's 'Mr. Morale & the Big Steppers'  head on! We get stuck right into this challenging album in Part 1 of the pod. In 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 Nolan's choice, Kendrick Lamar's 'Mr. Morale & the Big Steppers' . We discuss the album in length, favourite tracks and their impact on us and other music fans and if there is a missing track from this album. We want you to have access to great conversations about great music – here are some links to some of the best content on this album that we've consumed;A great 'explainer' article from Ambrosia for Heads  – read hereNYT's Popcast Podcast Episode (this one is great for a Kendrick Sceptic view) – listen hereGreat Tempo Tribe Podcast conversation – listen hereA shorter listen at 22 mins – the NPR Pop Culture Happy Hour podcast – listen hereThis was one of our toughest albums to think and to talk about … but we hope you enjoy it.Part 2 – Spin it or Bin ItIn the second part of this episode we get stuck into 4 tracks representing this months theme – 'LA Tracks' – or favourite tracks from LA based artists. We all pick a track,  introduce our track and ask the others the painfully binary critical question; 'spin it' or 'bin it?' We try not to go super-obvious on our track selections each month … this is what we chose to represent LA;Joey's track selection is – 'Chum' by Earl SweatshirtDavid's track selection is – 'Twelve Thirty' by The Mamas and the PapasNolan's track selection is – 'Runners' by Evidence ft. DefariGuy's track selection is – '86' by TruncateNext MonthEpisode #25 will be with you soon – Guy will be guiding us through 'We' by Arcade Fire one of is favourite artists ever … what could go wrong? Have a listen to the album and  share some thoughts with us on the blog or on our Insta. 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 24 – Kendrick Lamar – Mr. Morale & the Big Steppers
  2. Ep. 23 – Hurray For The Riff Raff – Life on Earth
  3. Ep 22 – Big Thief – Dragon, New Warm Mountain …
  4. Ep 21 – Metronomy – Small World
  5. Ep 20 – Album Club – Modern Classics

Episode 17 of This Is Not Happening follows Billie Eilish’s memorable new album with a slice of classy electronic music from Irishman Mano Le Tough. Dubliner turned Zurich resident Niall Mannion’s third album At The Moment  saw him expand his musical horizons in lockdown, and we all got to stand back and say what it meant to us. Nolan was at the tiller this month.

In the second half of the episode, we go to the movies, picking out our favourites from original music in films, and it was a beautiful conversation blending our love for the silver screen with our love for music. Here’s our shortlist, and longer lists from Guy and David.  It was an absolute joy doing this month. The tracks we chose were:

Nolan – Jose Gonzalez – Stay Alive (from The Secret Life Of Walter Mitty in 2013)
Joey – Public Enemy – Fight The Power (from Spike Lee’s Do The Right Thing in 1989)
Guy – Clint Mansell – Welcome To Lunar Industries (from Duncan Jones’ Moon in 2009)
David – Justin Hurwitz – City Of Stars / May Finally Come True – La La Land (2016)

November’s album of the month and all our tracks, playlists, and chat from our last decade or more can be found on our blog at www.thisisnothappening.net, which runs alongside the podcast choices and all sorts more. Head down there and hopefully you’ll find more stuff to like. We’d love to hear from you on the socials (links below).

Episode #18 arrives with our favourite month of the year with of our review of 2021. We’ll be picking out our favourite Top 10 albums, and tracks of the year. Not too long to wait!

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

Posted in podcast

Podcast Episode 16 – Billie Eilish – Happier Than Ever

Ep 24 – Kendrick Lamar – Mr. Morale & the Big Steppers This Is Not Happening – An Album Of The Month Podcast

Our last Album of the Month (AOTM) was the beautiful 'Life on Earth' by Hurray for the Riff Raff. This month the  This Is Not Happening crew tackle Kendrick Lamar's 'Mr. Morale & the Big Steppers'  head on! We get stuck right into this challenging album in Part 1 of the pod. In 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 Nolan's choice, Kendrick Lamar's 'Mr. Morale & the Big Steppers' . We discuss the album in length, favourite tracks and their impact on us and other music fans and if there is a missing track from this album. We want you to have access to great conversations about great music – here are some links to some of the best content on this album that we've consumed;A great 'explainer' article from Ambrosia for Heads  – read hereNYT's Popcast Podcast Episode (this one is great for a Kendrick Sceptic view) – listen hereGreat Tempo Tribe Podcast conversation – listen hereA shorter listen at 22 mins – the NPR Pop Culture Happy Hour podcast – listen hereThis was one of our toughest albums to think and to talk about … but we hope you enjoy it.Part 2 – Spin it or Bin ItIn the second part of this episode we get stuck into 4 tracks representing this months theme – 'LA Tracks' – or favourite tracks from LA based artists. We all pick a track,  introduce our track and ask the others the painfully binary critical question; 'spin it' or 'bin it?' We try not to go super-obvious on our track selections each month … this is what we chose to represent LA;Joey's track selection is – 'Chum' by Earl SweatshirtDavid's track selection is – 'Twelve Thirty' by The Mamas and the PapasNolan's track selection is – 'Runners' by Evidence ft. DefariGuy's track selection is – '86' by TruncateNext MonthEpisode #25 will be with you soon – Guy will be guiding us through 'We' by Arcade Fire one of is favourite artists ever … what could go wrong? Have a listen to the album and  share some thoughts with us on the blog or on our Insta. 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 24 – Kendrick Lamar – Mr. Morale & the Big Steppers
  2. Ep. 23 – Hurray For The Riff Raff – Life on Earth
  3. Ep 22 – Big Thief – Dragon, New Warm Mountain …
  4. Ep 21 – Metronomy – Small World
  5. Ep 20 – Album Club – Modern Classics

Episode 16 of This Is Not Happening goes as big as it gets with Billie Eilish’s new album, Happier Than Ever.  Following angular synth and guitars of Lonelady in episode 15,  we take an album that’s already one of the most talked-about of the year, and delve into what it means for us, and the music world. David is bringing us this album.

In the second half of the episode, we go for intros, and pick out some of our favourite opening tracks of the albums we love. It’s a mighty list, and we’ve also had some cracking shortlists from Guy here. The tracks we chose were:

Joey – Bjork – Human Behaviour from Debut (1993)
Guy – Etienne De Crecy – Le Patron Est Devenou Fou! – from Super Discount (1996)
David – Bill Withers – Harlem – from Just As I am (1971)
Nolan – A Tribe Called Quest – Excursions – from The Low End Theory by Tribe (1991)

October’s album of the month and all our new tracks, playlists, and chat from the past decade or more can be found on our blog at www.thisisnothappening.net, which runs alongside the podcast choices and much, much more. Head down there and hopefully you’ll like what we’re talking about and if you do, we’d love to hear from you on the socials (links below).

Episode #17 arrives with a nod to the dancefloor from Nolan, who picks Dublin artist Mano Le Tough’s At The Moment. This next episode will be landing before the end of November ahead of our review of the year in December.

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

Posted in Uncategorized

Podcast Episode 15 – Lonelady – Former Things

Ep 24 – Kendrick Lamar – Mr. Morale & the Big Steppers This Is Not Happening – An Album Of The Month Podcast

Our last Album of the Month (AOTM) was the beautiful 'Life on Earth' by Hurray for the Riff Raff. This month the  This Is Not Happening crew tackle Kendrick Lamar's 'Mr. Morale & the Big Steppers'  head on! We get stuck right into this challenging album in Part 1 of the pod. In 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 Nolan's choice, Kendrick Lamar's 'Mr. Morale & the Big Steppers' . We discuss the album in length, favourite tracks and their impact on us and other music fans and if there is a missing track from this album. We want you to have access to great conversations about great music – here are some links to some of the best content on this album that we've consumed;A great 'explainer' article from Ambrosia for Heads  – read hereNYT's Popcast Podcast Episode (this one is great for a Kendrick Sceptic view) – listen hereGreat Tempo Tribe Podcast conversation – listen hereA shorter listen at 22 mins – the NPR Pop Culture Happy Hour podcast – listen hereThis was one of our toughest albums to think and to talk about … but we hope you enjoy it.Part 2 – Spin it or Bin ItIn the second part of this episode we get stuck into 4 tracks representing this months theme – 'LA Tracks' – or favourite tracks from LA based artists. We all pick a track,  introduce our track and ask the others the painfully binary critical question; 'spin it' or 'bin it?' We try not to go super-obvious on our track selections each month … this is what we chose to represent LA;Joey's track selection is – 'Chum' by Earl SweatshirtDavid's track selection is – 'Twelve Thirty' by The Mamas and the PapasNolan's track selection is – 'Runners' by Evidence ft. DefariGuy's track selection is – '86' by TruncateNext MonthEpisode #25 will be with you soon – Guy will be guiding us through 'We' by Arcade Fire one of is favourite artists ever … what could go wrong? Have a listen to the album and  share some thoughts with us on the blog or on our Insta. 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 24 – Kendrick Lamar – Mr. Morale & the Big Steppers
  2. Ep. 23 – Hurray For The Riff Raff – Life on Earth
  3. Ep 22 – Big Thief – Dragon, New Warm Mountain …
  4. Ep 21 – Metronomy – Small World
  5. Ep 20 – Album Club – Modern Classics

Episode 15 of This Is Not Happening heads to the north west of England with Manchester artist Lonelady’s third album, Former Things. After the heart-on-sleeve shogazey pop of Japanese Breakfast‘s Jubilee, Julie Campbell’s solo guitar/drums/synth template brings 8 tracks of post-punk, electronic fusion, with Guy at the helm!

In the second half of the episode, we stay in Manchester, each bringing a track from the city’s fabled music history to the table. Our shortlist is here, and Guy’s longlist lives here. Stick around and see what we thought of the picks:

Guy  – Zoe Abalone – Vortex
David – Paris Angels – Perfume
Joey – Pip Milett – Hard Life
Nolan  – Mr Scruff v Cyberpunks – A Space Disco Remix

September’s album of the month and all our new tracks, playlists, and chat from the past decade or more can be found on our blog at www.thisisnothappening.net, which runs alongside the podcast choices and much, much more. Head down there and hopefully you’ll like what we’re talking about and if you do, we’d love to hear from you on the socials (links below).

Episode #16 comes in the shape of Billie Eilish’s new album Happier Than Ever as David bring his pop-beingness back to the fore. That next episode will be landing before the end of October.

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

Posted in podcast

Podcast Episode 14: Japanese Breakfast – Jubilee

Ep 24 – Kendrick Lamar – Mr. Morale & the Big Steppers This Is Not Happening – An Album Of The Month Podcast

Our last Album of the Month (AOTM) was the beautiful 'Life on Earth' by Hurray for the Riff Raff. This month the  This Is Not Happening crew tackle Kendrick Lamar's 'Mr. Morale & the Big Steppers'  head on! We get stuck right into this challenging album in Part 1 of the pod. In 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 Nolan's choice, Kendrick Lamar's 'Mr. Morale & the Big Steppers' . We discuss the album in length, favourite tracks and their impact on us and other music fans and if there is a missing track from this album. We want you to have access to great conversations about great music – here are some links to some of the best content on this album that we've consumed;A great 'explainer' article from Ambrosia for Heads  – read hereNYT's Popcast Podcast Episode (this one is great for a Kendrick Sceptic view) – listen hereGreat Tempo Tribe Podcast conversation – listen hereA shorter listen at 22 mins – the NPR Pop Culture Happy Hour podcast – listen hereThis was one of our toughest albums to think and to talk about … but we hope you enjoy it.Part 2 – Spin it or Bin ItIn the second part of this episode we get stuck into 4 tracks representing this months theme – 'LA Tracks' – or favourite tracks from LA based artists. We all pick a track,  introduce our track and ask the others the painfully binary critical question; 'spin it' or 'bin it?' We try not to go super-obvious on our track selections each month … this is what we chose to represent LA;Joey's track selection is – 'Chum' by Earl SweatshirtDavid's track selection is – 'Twelve Thirty' by The Mamas and the PapasNolan's track selection is – 'Runners' by Evidence ft. DefariGuy's track selection is – '86' by TruncateNext MonthEpisode #25 will be with you soon – Guy will be guiding us through 'We' by Arcade Fire one of is favourite artists ever … what could go wrong? Have a listen to the album and  share some thoughts with us on the blog or on our Insta. 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 24 – Kendrick Lamar – Mr. Morale & the Big Steppers
  2. Ep. 23 – Hurray For The Riff Raff – Life on Earth
  3. Ep 22 – Big Thief – Dragon, New Warm Mountain …
  4. Ep 21 – Metronomy – Small World
  5. Ep 20 – Album Club – Modern Classics

Episode 14 of This Is Not Happening heads from hip-hop to pop with Japanese Breakfast‘s Jubilee. The creation of Korean-American Michelle Zauner, this is her 3rd album and sees her move from a more shoegazey, loose style into the full pop universe. Joey comes at us with it, but do we feel the same way he does? Find out! As usual, there’s playlists that run alongside the episode here.

In the second half of the episode, we head back to new music, with a favourite from us that’s been released in the past three months. Our longlist is here, see what we thought of the picks:

Joey – CMAT – 2 Wrecked 2 Care
David – Wet Leg – Chaise Longue
Guy  – Public Service Broadcasting – People, Let’s Dance
Nolan  – GHEIST – You

August’s album of the month and all our new tracks, playlists, and chat from the past decade or more can be found on our blog at www.thisisnothappening.net, which runs alongside the podcast choices and much, much more. Head down there and hopefully you’ll like what we’re talking about and if you do, we’d love to hear from you on the socials (links below).

Episode #15 hangs onto the summer with LoneLady’s Former Things. Guy’s bringing this slice of modern Mancunian synth and guitars to the gang. That next episode will be landing before the end of September.

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

Jubilee