Posted in Album of the Month, New Albums

February: Prize – Rozi Plain

I’m a big fan of mystery in music. By that I mean, listening to something and not quite knowing what it means, or what the words are saying, or what the melody is doing – but somehow, mysteriously, being moved by it. Bowie is, of course, the master of this, and Kate Bush likewise. But it’s always great when you come across something in the corner of the musical universe that is somehow not quite like anything else. You couldn’t quite say what genre it is, why you connect with it, or why it specifically speaks to you. Rozi Plain falls squarely into that category for me.

I first came across Rozi via This Is The Kit, the Bristol based folk-rock band fronted by the brilliant Kate Stables. And I first came across This is The Kit, bizarrely enough on a Maison Kitsuné chill out compilation sometime in the late noughties, when I was still taking my daughter to nursery, because I remember how much she liked the song ‘Two Wooden Spoons’.

Rozi P is a member of that band and tours and plays with them, as well as forging her own solo career. I’ve loved This Is The Kit for a long time, though interestingly I would say that they are a folk/folk rock/alt folk band. Whereas I’m not sure what Rozi Plain is. Anyway, I first came Rozi via Kate Staples, and at some point, I must have decided to listen to her 2016 album What A Boost.

Everything about that album is ‘unassuming’. The cover art, where Rozi has her hood on a raincoat, back to camera, facing a field. It’s like a not very good camera photo. It’s not artful, it’s very ordinary. She doesn’t look like a pop star at all. She never has, actually. I’ve never seen her do a ‘photoshoot’. Anyway, if I’m being honest, I liked but didn’t love that album. I guess I was expecting This Is The Kit v2, but actually it much more subtle, introspective and – yes – unassuming. It sounded like it didn’t mind if you listened to or not, it was there anyway, quietly existing in it own little corner.

How I underestimated that album. Because in the last 3 years, I bet you it’s one of the albums I’ve played the most. I return to it like a lost friend and I’m always happy to see it. And here’s the thing – I still feel like has a mystery to it, like I don’t quite know what it is. But it got under my skin like nothing else. I’ve been thinking a lot about how to describe her music, and I think that what is has is a lot of SPACE. It’s not folk music at all, the songwriting is pop music, but has an openness and a slight wonkiness that makes me thing of jazz more than anything?! Is that just me?

The mix and instruments are wide apart; it’s not fussy, it’s not trying too hard. It’s intimately produced, everything up close in the mix, and the really clever icing on the top is Rozi’s double tracked (ALWAYS double tracked!) vocal, both perfect and flat and, again, unassuming. No vocal ticks, no showing off. Subtle AF. But my god, it’s effective.

So to this new album, which has moved her sound and the conversation about what she is and what she does on considerably. This is squelchier affair, a lot more synths and swathes of electronic sound. But what remains is that commitment to the subtle, the mysterious and the gently persuasive. I don’t want to get hung up on a whole gender thing and resort to any stereotypes, but I do think this is a very female take on songwriting – it is insistent but it’s not trying to show off. And I get that someone could listen to this and miss the whole thing. To be honest, I was worried when I chose it that you all might feel that way too, and it’s been heartening to hear that she’s connecting with you.

So what’s going with the songwriting. Let’s start with a slightly fanciful quote from her own Bandcamp age:

The music of Rozi Plain has always felt like a freeze-frame. A colourful and graceful snapshot of the world, paused, suspended in time, and then gently toyed with, like stepping out of the linear world as we know it.

Yeah, I know, it’s a bit much, but it does touch on something. The songs kind of in a here and now. They’re about a current conversation, something that’s happening in real time. That’s actually quite unusual!

In Agreeing for Two, she sings:
“What should we call it
If nothing will do?
It’s nothing we’ll do
But what should we call it?”

I mean, who knows what the argument/discussion is about. But we know that feeling, right, about not being able to find common ground in a relationship?

All the way through the album, there are refrains in the lyrics that are repeated so often they’re like mantras:

If it’s a feeling/That’s going/When it goes/You even know/Help for you/Help for you/Help for you..

My god, that could be anything. Depression? The end of a relationship? Trying to help a friend? I love that space these songs give you to make sense of them in your way. Prove Your Good goes even further, reducing most of the whole song to that mantra (note it’s not Prove ‘YOU’RE’ Good but Prove YOUR Good i.e. prove that you have worth).

I’m going to go even further and do the worst thing possible: quite Pitchfork:

Working with minimalist guitar, gentle vocals, and an understated rhythm section, Plain constructs a careful lesson about the awe of being present in the moment.

Back to that thing about time again. Maybe that’s what keeps me coming back to her work. Listening to it puts me in the moment. I’m here and it’s now. I can work to it, I can relax to it, I can think to it. Can’t think of many records that’s true of.

I’m already loving this as much as the last record, and I’m also really grateful that it feels like a significant musical step forward. She’s not staying put, she’s on the move. And I’m very happy to be on the journey with her. Very much looking to your thoughts on this fascinating album!

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

AOTM January – Ab-Soul : Herbert

As we start of a new year of what I imagine will be another year of fantastic music, I like many am still mopping up the spill over of late releases in 2022. An easy choice for this month’s album of the month would have been either the new Stormzy or Little Simz releases which are both exceptional. But they have had a lot of well deserved coverage and I’m sure most of us are well into their releases being in heavy rotation. Instead I’m bringing to the table and album that is complicated, and I’m confident is going to be a challenge to at least 2 of the 4 of us. Why? Because it’s an album that I think shouldn’t be missed. The album I’ve chosen is Ab-Soul’s ‘Herbert’. 


Ahead of the ‘why’, it’s important that we delve into the ‘who’. Cards on the table, though I’d like to say that I’m a big fan of hip hop and have a fairly extensive knowledge I don’t actually know that much about Ab-Soul or his music. With the exception of his membership in Black Hippy and being signed to TDE my knowledge stops there. Most recent articles focus heavily on his debut album ‘Control System’ and how his conspiracy theory lidded rhymes made him popular with underground hip hop heads and built him a strong following that lauded after him over his next few albums. All of this passed me. Though he’s signed by TDE, they have released his music independently whilst the majority of TDE artists such as Kendrick, Schoolboy Q, etc. have released their music through major labels such as Interscope. Previously happy with his underground path, Ab-Soul has admitted on numerous occasions recently that this latest release carried a heavy amount of pressure to break him into the mainstream. Part of the plan was to move away from his conspiracy theories and create an album that was personal and more of a reflection of him. 
Like the 3 others on this blog / podcast I have approached this album and artist with no history and previous impressions. Impressed by the initial singles I was expecting a well produced collection of solid songs.  What I found is an album reflecting an artist’s internal and external turmoil, raw emotions, and a journey. 

Not long after the release of Herbert, Ab-Soul confirmed in and interview with Charlamange that after completing the majority of the album he tried to commit suicide by jumping off of an overpass close to his mothers house. He largely blames substance abuse and the loss of his best friend for the attempt, though suicide has haunted Ab-Soul over the last 10 years with both his ex girlfriend Alori Joh as well as previous collaborator Mac Miller both taking their lives. Digesting this and the time of when many of the songs were recorded brings an immediacy to many of the tracks and exposes layers in the lyrics that I missed on the first few listens. 

In a recent NPR interview he talked about ’the disconnect with the people around him that matter the most’ and how he dealt with this. Much of it is channeled through ‘Herbert’. The album is a journey, a musical memoir, it has a district start, middle and end. Songs interweave into each other as Ab-Soul works through his journey to getting to where he wants / needs to be. 


Starting off with ‘Message In A Bottle’, the album is perfectly set up laying out his frustrations and ambitions. Whilst ’No Report Card’ gives us a hint of his state of mind through the recording of album with the chorus of ’so-low, don’t go so low, may day, grade a, no report card’ whilst dropping hints of frustration through lines like ’solar system, I’m sick of planet earth’. 

Released last April, ‘Hollandaise’ was the first single from the album. It was the track that made me sit up and pay attention to Ab-Soul. I love the swagger and confidence of Ab-Soul on the track. It reminds me of Jay-Z on Reasonable Doubt. The beat also throbs of the Cali hip hop I grew to love in the early 90’s. It also sets Ab up perfectly for the next track ‘Moonshooter’. 


My favourite track of 2022, Moonshooter is as close to hip hop perfection you can get. There are so many lines I love in this song, but the stand out has to be: ‘Hopped of the porch like, “One of these days I’ma hop out the Porsche”, caught up in a daze’. I’m not sure why, but it always sticks with me and makes me smile. The song alone paints such as great picture, and the video adds a next level to the track as it depicts two young boys and the mischief they can get up to on an average day. 


‘FOMF’ is the first song that I struggled with on the album, it’s not my bag. With that, I can imagine the younger (under 40) listeners will really like this track as it’s got the trap feel that all the youngsters are into (I’ve shuttered whilst writing that). I can imagine a bunch of youth’s bouncing around to this will mobile phones in the air…. doing a trap dance to it. 


Ab quickly won me back with ‘Goodman’ which samples one of my favourite tracks ‘Am I A Good Man’ by Them Two that we featured previously on Spin It or Bin It. It sits nicely at the midpoint and sets up ‘Do Better’ perfectly. 


Whilst ‘Moonshooter’ was my favourite track of 2022, ‘Do Better’ is my theme song for 2023 as Ab highlights how he can always improve as the brilliant sample of Nick Hakim’s ‘Green Twins’ haunts the song. 


Though the first half has a positive feel, the second half is a stark look into Ab-Soul’s mind at the time of recording the track. Do Better, thought touching on suicide, was recorded before his suicide attempt. Ironically it feels like he wrote it after. Soul has highlighted that his suicide wasn’t a direct attempt. It was driven by being under the influence and effect of his own drug use. Ab’s line of ‘Doing drugs was just a war with boredom but it’s sure to get me’ sadly foreshadows real life events that were soon to follow.  We’ve talked on previous podcasts about the recent trend of artists, especially hip hop artists opening talking about mental health openly. For me this song is a glowing beacon towards the positive on a very dark subject, though I question its’ dynasty if events had ended differently. 


‘Gang’nem’ slightly sidetracks the emotional flow of the album, but is special. I recently was listening to a conversation with Talib Kweli and Yassin Bay where they were discussing the concept of reality rap. Hip hop is a product of its’ environment and as it has taken over the mainstream I think some listeners forget about its’ roots. ‘Gang’nem’ taps into the gang affiliations that Ab-Soul grew up with and brought me back to hearting tracks of gang tales in my early days of getting into hip hop. Not to glorify gang culture, the track gives us a reminder that within much of metropolitan America, gang culture is still prevalent. 


‘Wildside’ gives us a midway break through ‘Herbert’, though as we get to the second half I find the album hits some bumps in the road. For the brilliance of some of the songs in the first half of the album there are flaws in the second half. ’The Art of Seduction’ isn’t my personal cup of tea, whilst ‘Bucket’ and ‘Go Off’ aren’t to the level of the album and find themselves lost in the over all feel of the album. ‘Fallacy’ brings you back into the fold ahead of the James Blake produced ‘Herbert’. The title track is a reconning as he faces into his demons and layers of positivity start making their way into the album. 


‘Church On The Move’ brings light to the album, it’s one of my favourite tracks on the album. I can see this as a single. The opening lyrics are a statement of intent. 


“I sip my drink, I do my dance
Don’t throw no stones, don’t hide my hands
I played my part, I play it well
I trim the fat, still tip the scale
I fought that fight, I fall like Hell
I ran that race, I tripped, I fell
I got right back up (yeah)”

‘It Be Like That’ and ‘Positive Vibes Only’ continue to bring us to the light of the album as the inspiration of his journey continues to break through, ahead of the DJ Premier produced ‘Gotta Rap’ which brings his boom bap MC credentials to the table as he states: 

“I even tried suicide and I don’t know whyI know better than most that the soul don’t die
Took a leap, shattered my leg and lost some teeth
And I’m still standing behind every word I speak, peep”

Ab-Soul has highlighted that the track was originally recorded before his suicide attempt, but it was important to re-wrote the lyrics of the song inline with where he wanted to leave the album. 

Ab-Soul has created an album that serves the listener with some fantastic tracks that are catchy and should lead to streams, social media trends, and other tick box exercises that most artists and labels now focus on. As an album, Herbert is unintentional journey that unearths the path that he has fought through in real time. Though he’s a seasoned veteran of hip hop, you get the feeling that he is an artist with a new drive, and this album is the start of what could be an incredible run as an artist.  

Presenting this album for our monthly review is risky, I get that it’s not everyones bag. Guy’s not going to like the language, Joey will think some of the lyrics are throw away and lazy, and David will need to spend more time than he perhaps has to dig into the lyrics (though when he does they will click). What I can guarantee is that when you commit to this album it’s an album that will stick with you. 

Posted in Album of the Month, Music chat, New Albums, New Tunes, podcast, Spin it or Bin It, Tracks of the Month, Uncategorized

Podcast Episode | Sudan Archives | Natural Brown Prom Queen

Our first AOTM episode in 2023 finds us exploring Ab Soul's 'Herbert' in Part 1 and we focus on New Music for 'Spin It or Bin It' in Part 2.Part 1 | Album of the Month | Ab Soul | HerbertIt's Nolan's choice this month and he's taking us to his spiritual home – Hip Hop with Ab Soul's late 2022 release, 'Herbert'. For once, we're all coming to this artist pretty fresh . Nolan's been banging on about the singles from this album for like 6 months so giving the album some extended love seems a natural choice.If you've not heard it, we think it's well worth a listen …Go listen to the album – HereGo watch some videos – HereGo buy some merch – Here Our discussion focuses on how we'd describe the album, mental health, suicide and how these topics impact the album, the length of the album, the bangers and of course we touch on a few of the clangers too.We mention a few things that we'd highly recommend checking out, so here are the links;YouTube interview with Charlamagne Tha God – HereGQ interview – HereJoey's alternative, 10 track playlist that focuses on the bangers – HereGuy's alternative, 11 track playlist that focuses on the narrative – HerePart 2 | Spin It or Bin It | 'New Music' (Nov '22 onwards)We all pick a tack based on a theme and present to the rest of us to ask the simple question, Spin it or Bin it? The theme this month is a simple one 'New Music'. The only rule is that the track has to be released after November 2022. We chose albums from as far a field as Doncaster and Russia.David chose – 'Nothing Left to Loose' by Everything But the Girl Nolan chose – 'Like a Heart Won't Beat' by Skinny Pelembe  Joey chose – 'Let's Hold Our Hands Together' by Kito JempereDavid chose – 'Gorilla' by Little SimzNext MonthDavid is in the hot seat for AOTM and he's bringing Rozi Plain's new album 'Prize' to the table. We're all getting stuck in and seeing how we live with the album for a month or so. In Part 2, 'Spin It or Bin It?' will be a good one too … the theme next month is Protest Music.We've been writing the blog for years come and have a look – https://thisisnothappening.net/We've been writing the blog for years come and have a look – https://thisisnothappening.net/
  1. Ep 29 | Ab-Soul | Herbert
  2. Ep 28 | 2022 Top 10 Albums + Top Tracks
  3. Ep 27 | Sudan Archives | Natural Brown Prom Queen
  4. Ep 26 – Hot Chip – Freakout / Release
  5. Ep 25 – Steve Lacy – Gemini Rights

Guess who’s back. Back again. TINH’s back. Tell a friend.

This month, in Part 1 we go deep on this month’s Album of the Month by Sudan Archives. In Part 2 we play ‘Spin It or Bin It’, where we choose a theme and each bring our choice of tracks. This month the theme is ‘Our own personal entrance music’.

Part 1 | Album of the Month | Sudan Archives | Natural Brown Prom Queen

It’s my (Joey’s) choice this month and we’ve gone with a belter of a sophomore album by Sudan Archives that easily claims the best titled album of the year ‘Natural Brown Prom Queen’  

If you’ve not heard it and this inspires you … 

  • Go listen to the album – Here
  • Go watch some videos – Here
  • Go buy some merch – here

(personally I’ve got my eye on the ‘I just wanna get my titties out’ t-shirt –here)

As always we kick off with what we expected from the album and what we got. Then we explore favorite tracks, sequencing of the album, why ‘OMG Britt’ nearly ruined the whole thing for Guy’, the creative process of making the album and the influences that we hear.

We mention a few things that we’d highly recommend checking out, so here are the links;

Part 2 | Spin It or Bin It | ‘Our own personal entrance music’

The theme for Spin It or Bin It is a bit different this month. We’re choosing our ‘Entrance Music’ and describing the event or circumstances that we’re entering. If that doesn’t make too much sense, just listen to the episode!  This month, the 4 tracks were …

  1. David chose – Adriano Celentano | L’Unica Chance (plus David’s blog post)
  2. Joey chose – Joey Valance and Brae (Feat. Logic) | Tanaka 2 (plus Joey’s blog post)
  3. Guy chose – The Beastie Boys | Sabotage  (plus Guy’s blog post)
  4. Nolan chose – Macklemore and Ryan Lewis | Can’t Hold Us (plus Nolan’s blog post)

Next Month

The big one! The end of year review. Hold on tight. 
We count down our 10 favourite albums of the year, featuring lots of moaning about David’s album scoring algorithm. We also present our tracks of the year. Can you sum up the year musically in one track? It’s a lot tougher than you’d think.

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 www.thisisnothappening.net, which runs alongside the podcast choices and much, much more. 

Posted in Album of the Month, Music chat, New Albums, podcast, Spin it or Bin It, Tracks of the Month

Podcast Ep. 26 | Hot Chip | Freakout Release

Our first AOTM episode in 2023 finds us exploring Ab Soul's 'Herbert' in Part 1 and we focus on New Music for 'Spin It or Bin It' in Part 2.Part 1 | Album of the Month | Ab Soul | HerbertIt's Nolan's choice this month and he's taking us to his spiritual home – Hip Hop with Ab Soul's late 2022 release, 'Herbert'. For once, we're all coming to this artist pretty fresh . Nolan's been banging on about the singles from this album for like 6 months so giving the album some extended love seems a natural choice.If you've not heard it, we think it's well worth a listen …Go listen to the album – HereGo watch some videos – HereGo buy some merch – Here Our discussion focuses on how we'd describe the album, mental health, suicide and how these topics impact the album, the length of the album, the bangers and of course we touch on a few of the clangers too.We mention a few things that we'd highly recommend checking out, so here are the links;YouTube interview with Charlamagne Tha God – HereGQ interview – HereJoey's alternative, 10 track playlist that focuses on the bangers – HereGuy's alternative, 11 track playlist that focuses on the narrative – HerePart 2 | Spin It or Bin It | 'New Music' (Nov '22 onwards)We all pick a tack based on a theme and present to the rest of us to ask the simple question, Spin it or Bin it? The theme this month is a simple one 'New Music'. The only rule is that the track has to be released after November 2022. We chose albums from as far a field as Doncaster and Russia.David chose – 'Nothing Left to Loose' by Everything But the Girl Nolan chose – 'Like a Heart Won't Beat' by Skinny Pelembe  Joey chose – 'Let's Hold Our Hands Together' by Kito JempereDavid chose – 'Gorilla' by Little SimzNext MonthDavid is in the hot seat for AOTM and he's bringing Rozi Plain's new album 'Prize' to the table. We're all getting stuck in and seeing how we live with the album for a month or so. In Part 2, 'Spin It or Bin It?' will be a good one too … the theme next month is Protest Music.We've been writing the blog for years come and have a look – https://thisisnothappening.net/We've been writing the blog for years come and have a look – https://thisisnothappening.net/
  1. Ep 29 | Ab-Soul | Herbert
  2. Ep 28 | 2022 Top 10 Albums + Top Tracks
  3. Ep 27 | Sudan Archives | Natural Brown Prom Queen
  4. Ep 26 – Hot Chip – Freakout / Release
  5. Ep 25 – Steve Lacy – Gemini Rights

We’re back again this month with our usual format. In Part 1 we go deep on Hot Chip’s latest album, in Part 2 we play ‘Spin It or Bin It’, where we choose a theme and each bring our choice of tracks. This month the theme is ‘Dance-Pop’.

Part 1 | Album of the Month | Hot Chip | Freakout/Release

It’s Guy’s choice this month and he chooses the one of his favourite band’s latest release. It’s always interesting when one of us chooses a band that they love and have loads of history with. 

Listen to the album – Here

The chat focuses around our initial impressions, favourite tracks, the difficulty of maintaining relevance and engagement on your 8th album … and we all have something to say on the sequencing of tracks on this album.

Guy has curated a 28 track playlist called ‘Hot Chip’s Hot Hits’ – have a listen to it here

During the chat there were loads of references to Hot Chip side projects, here are a few links for you to check out;

Part 2 | Spin It or Bin It | We all choose a Dance-Pop Track

In tribute to Hot Chip, the theme for Spin It or Bin It this month is Dance-Pop. Over the course of the month we all create a play list of our favourite Dance-Pop, a shortlist of 4 tracks and then choose a track to delight (or in my case annoy) the team. This month, the 4 tracks were …

  1. Nolan chose – Robyn | Dancing On My Own
  2. Guy chose – Cassius | The Sound of Violence
  3. Joey chose – The Knife | Pass This On
  4. David chose – Soulwax | NY Excuse 

The 16 track playlist of each of our 4 shortlisted tracks can be found here and it’s a belter!

Next Month

I (
Joey) will be running the show and hosting the discussion on Sudan Archive’s 2nd album – Natural Brown Prom Queen

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 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 hear what you think

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

SEPTEMBER: Gemini Rights – Steve Lacy

There are certain genres of music that I just can’t get enough of – Girl Groups of the 60s, 70s folk rock, Noughties Scandi electro pop, Native Tongues hip hop, basically anything French. Bring me more of any of these, and I’ll lap it up. And right up there with my absolute fave genres is what I’d call wonky R&B. It’s definitely R&B but it’s got a little kink in there – I’m talking everything from Miguel to Greentea Peng to Lucy Pearl to Solange to – yes, of course – Frank Ocean.

Some of those artists you could almost call soul music, and of course the line between soul and R&B has always been a difficult one to draw. But what you can hear is where that wonky R&B draws its inspiration. We’re talking 70s Curtis Mayfield at his most rootsy-ish, bit of Sly & The Family Stone, but perhaps the cornerstone of these influences is early 70s Stevie Wonder – and in particular, that incredible trilogy of albums that ran Talking Book – Innervisions – Fulfilingness First Finale.

What made those albums so groundbreaking wasn’t just the Moog synths, or Stevie’s ability to push the sound of soul music forward. It was also that they were deeply musical and driven as much by melody as they were by grooves. They expanded the language of soul/R&B and freed it up in such a profound way that they essentially became the template for so many artists who followed. Just like the shadow The Beatles have cast over rock since they recorded, I think Stevie did the same for R&B. Prince, surely the greatest innovator that followed Stevie, was clearly hugely inspired by that template – and he was just as comfortable singing an out and out pop song (Raspberry Beret) or a slow soul jam (If I Was Your Girlfriend) as he was writing a groove (Get Off).

I am SUCH a sucker for music influenced by these artists – that mixture of soul and groove and melody but also a bit of experimentation and oddness, just like Prince and Stevie had, is absolute catnip to me. To say that this album falls right into the centre of that universe is possibly even an understatement. If someone could have created an album for me, it would be this one. So I’m aware that my response is a personal one – well of course it is, all our responses are – but I don’t necessarily expect everyone to feel the same as I do!

So. Steve Lacy. Not a rock star name, certainly not an R&B name! I really liked The Internet, particularly their album Hive Mind. Sprouting out of the pretty out there Odd Future collective, they did a nice line in a forward thinking R&B jams, that, coupled with their sexually liberated/queer vibe, made them feel fresh and interesting. Steve joined the band half way through their life (they’re still going, but haven’t put out a record since 2018), and immediately added a missing layer to their sound. He then made a solo album, Apollo XXI in 2019 that I admired more than I liked. I found it frustrating – he was exactly the kind of artist I liked, and I willed myself to enjoy it, but there was something missing. You ever done that? You know the artist is capable of making something you’ll love, but somehow they haven’t delivered.

In all honesty, I wasn’t loving the look of many of the new releases when it came to this month, and then I noticed Steve Lacy had a new album out. And then I heard Bad Habit. And I was like – OK, THIS is the music I was hoping you’d make, Steve.

But nothing prepared me for how much I was going to LOOOOOOVE this record. What is that I find so beguiling about it?

  • Massive genre hopping? TICK
  • Sunny melodies mixed with angsty lyrics? TICK
  • Sexually ambiguous AF? TICK
  • Several genuine bangers? TICK

Opener STATIC is a perfect intro to the album – lyrically odd and personal, a weird mix of yearning, resentful and self-loathing (pretty much the album’s themes in a nutshell), before it ends with this beautiful cascading melody and incredible (5? 6?) part harmonies.

And then – oh boy – then the album gets going proper, and for me, Track 2 – 6 are the best sequence of songs I have heard on an album this year and better than most in any year. HELMET is Stevie meets Prince funky, with a giant slice of emotional angst thrown in. MERCURY, maybe my favourite song on the album, is a delicate Bossa Nova number with incredible harmonies, and a beautiful melody. I’ve probably listened to it 50 times already! BUTTONS is a Prince style slow jam with falsetto and lyrics of yearning and regret. BAD HABIT is a fucking slow banger with a refrain that will stick in your head for weeks.

(A sidebar: This got me thinking about great sequences of tracks and here’s 3 that immediately sprang to mind:

  • Tracks 2 – 6 (Slip Away – Wreath on Perfume Genius’s No Shape
  • Tracks 3 – 6 (Revival to Desire Lines) on Deerhunter’s Halcyon Digest
  • The Opening 3 tracks of Mos Def’s The Ecstatic
  • 2 – 5 (Lost Ones to Doo Wop) on Lauren Hill’s the Miseducation...

A good discussion for a show sometime?)

Brother Joey has already suggested that he thinks the album falls off after this (though he also admits he hasn’t quite had time to connect with it yet). I’m not on board with this. BROTHER CODY is a strange, ethereal tune but I love it as a giant leftfield turn, full of gay desire and 80s synths. But my god, I love AMBER so much – I initially dismissed it as a bit of a filler, but it’s now completely won me over, not least that incredible moment where it moves from solo ballad to an entire choir of voices coming in. It reminds me of Frank Ocean at the absolute top of his game. It literally gives me goosebumps every time I listen. Give it some time and I hope it’ll do the same for you.

Then we’ve got another giant album highlight, SUNSHINE, a gorgeous sunny slab of delight, love Foushee’s voice on this, and the whole dreamy vibe.

Finally, we end GIVE YOU MY WORLD, in which Steve plays out his Prince obsession in a pure slow jam vibe. How much you dig this will depend on how much you like Prince style slow jams, but for me, what better way to close the album?

And then it’s over. 35 mins. That’s another big plus. What a statement and what a tight, lean way to express it. 35 mins, and then I go back to the beginning and press play again.

For the avoidance of doubt, this is currently my album of the year, and I’d be astonished if anything tops it. I doubt you’ll feel quite the same as me, but I hope this little gem of an album has got under your skin….

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

Podcast Episode 23 – Hurray for the Riff Raff – Life on Earth

Our first AOTM episode in 2023 finds us exploring Ab Soul's 'Herbert' in Part 1 and we focus on New Music for 'Spin It or Bin It' in Part 2.Part 1 | Album of the Month | Ab Soul | HerbertIt's Nolan's choice this month and he's taking us to his spiritual home – Hip Hop with Ab Soul's late 2022 release, 'Herbert'. For once, we're all coming to this artist pretty fresh . Nolan's been banging on about the singles from this album for like 6 months so giving the album some extended love seems a natural choice.If you've not heard it, we think it's well worth a listen …Go listen to the album – HereGo watch some videos – HereGo buy some merch – Here Our discussion focuses on how we'd describe the album, mental health, suicide and how these topics impact the album, the length of the album, the bangers and of course we touch on a few of the clangers too.We mention a few things that we'd highly recommend checking out, so here are the links;YouTube interview with Charlamagne Tha God – HereGQ interview – HereJoey's alternative, 10 track playlist that focuses on the bangers – HereGuy's alternative, 11 track playlist that focuses on the narrative – HerePart 2 | Spin It or Bin It | 'New Music' (Nov '22 onwards)We all pick a tack based on a theme and present to the rest of us to ask the simple question, Spin it or Bin it? The theme this month is a simple one 'New Music'. The only rule is that the track has to be released after November 2022. We chose albums from as far a field as Doncaster and Russia.David chose – 'Nothing Left to Loose' by Everything But the Girl Nolan chose – 'Like a Heart Won't Beat' by Skinny Pelembe  Joey chose – 'Let's Hold Our Hands Together' by Kito JempereDavid chose – 'Gorilla' by Little SimzNext MonthDavid is in the hot seat for AOTM and he's bringing Rozi Plain's new album 'Prize' to the table. We're all getting stuck in and seeing how we live with the album for a month or so. In Part 2, 'Spin It or Bin It?' will be a good one too … the theme next month is Protest Music.We've been writing the blog for years come and have a look – https://thisisnothappening.net/We've been writing the blog for years come and have a look – https://thisisnothappening.net/
  1. Ep 29 | Ab-Soul | Herbert
  2. Ep 28 | 2022 Top 10 Albums + Top Tracks
  3. Ep 27 | Sudan Archives | Natural Brown Prom Queen
  4. Ep 26 – Hot Chip – Freakout / Release
  5. Ep 25 – Steve Lacy – Gemini Rights

Last month we shared our thoughts on ‘Dragon New Mountain I Believe In You’ by Big Thief.  This month This Is Not Happening stays in the broad genre of ‘Indie’ with Hurray for The Riff Raff’s ‘Life on Earth’ which we get into a deep discussion about in Part 1. 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 Month

This month it’s Joseph’s choice, ‘Life on Earth’ by Hurray for the Riff Raff. We discuss the album in length, favourite tracks, what other artists’s energy we can hear in this music … and what has become the killer question for us; ‘is the production engaging or disengaging ?’ Big scenes on this pod guys!

There’s some great bits to link you to this month too;

In the second part of this episode we get stuck into 4 tracks representing this months theme – ‘Minimalist Grooves’. We all pick a track,  introduce our track and ask the others the painfully binary critical question; ‘spin it’ or ‘bin it?’ 

After last month’s Spin it or Bin It ‘fiasco’, this month is a little calmer and another great chat. It’s a bit more of a love-in than last months with lots of ‘Spin Its’ but a couple of ‘Bin Its’ in there too.

  1. Nolan’s track selection is – ‘In White Rooms’ by Booka Shade
  2. Joey’s track selection is – ‘Dance’ by ESG
  3. David’s track selection is – ‘Cranes in the Sky’ by Solange
  4. Guy’s track selection is – ‘Weak Become Heroes’ by The Streets

Next Month

Episode #24 will be with you soon – Nolan will be guiding us through Mr. Morale and the Big Steppers by Kendrick Lamar and WOW, there’s a lot to talk about there! Have a listen and  share some thoughts with us on the blog or on our Insta. Its hard not to have an opinion on this one.

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, 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.