Saying that I’m a bit of a Beatles fan is like saying the Pope is a bit of a Catholic. They have been the guiding musical lights of my life. I think The Beatles were a kind of miracle, the greatest creative expression of that burst of working class energy that blossomed in post war Britain. They didn’t just change the course of music, they changed the course of culture and society. I was 10 when Lennon was shot – I remember being really upset, but I also remember that no one else my age really knew who he was. By the time I was in my early teens, I was a subscriber to Beatles Monthly. This, at the time, did not make me cool. It made me square and weird. Everyone else was listening to Duran Duran. I once saved up weeks of paper round money to buy a brick from the original Cavern Club (they were being sold off for charity).
Now here I am decades later, and nothing has really changed. The Cavern brick is framed on my wall. My daughter is called Astrid, not just because we loved the name, but also because of Astrid Kircherr, the Hamburg photographer who was so influential in shaping the band’s look. I have a cat called Ringo. My house is groaning with Beatles nonsense. I vowed to stop buying stupid Beatles tat, but my friends still buy me stuff and honestly, it’s always welcome. Astrid got me a Beatles calendar for Xmas. Of course she did.
Paul was always my favourite Beatle. Partly, I think, when I was young, his songs were the most melodic and warm hearted and easy to engage with. But partly, also, I never really had any truck with the idea that Lennon was the artist and poet, and that Paul was just the tuneful cheesemonger of the band. It was obvious to me that McCartney was the most versatile Beatle. Pastoral ballad? Mother Nature’s Son. Musical hall? When I’m 64. A song about death and loneliness written when he was only 22? Eleanor Rigby. Howling rock n roll, Little Richard style? I’m Down. Giant pop chorus? Hey Jude. Song that literally gave birth to heavy metal? Helter Skelter. Any real Beatles fan could see he was the engine of the band as well as one of its two geniuses. Sgt Pepper? Paul’s idea. Side 2 of Abbey Road? Paul put that together. It’s always a little secret when you meet another big Beatles fan – you both immediately check that you both agree Paul is your favourite Beatle. It nearly always is. John is for the part-timers.
Solo Paul was a different matter. As a teen, I lapped up the albums of the time – Tug of War, Pipes of Peace, and plenty of the Wings stuff, but in all honesty, a lot of those albums have not aged well. One or two good tunes aside, there is a lot of guff on them, and it’s the kind of guff that has haunted his reputation ever since 1970. It was telling that when we all started listening to this new album, that Joey was surprised to hear McCartney rocking out – had he been listening to Queens of the Stone Age, Joey asked? The answer, is, of course, is that it’s the other way round, but I also get that to the casual listener, McCartney’s reputation as a rocker has been lost under decades of Mull of Kintyre and Ebony and Ivory and Frog Chorus.
So yes, his solo work has certainly been a mixed bag. But there are real gems in there. Ram is, I think, his best album and one of the best solo Beatles albums. But McCartney I and II have both got really special places in my heart. They’re both totally solo efforts, with McCartney playing every instrument – as we find him doing here on III. McCartney I is a homespun and folky joy, and McCartney II is genuinely nuts – experimental and electronic and a great reminder that Macca has been a great boundary pusher throughout his life.
I’d heard rumours recently that this new album was a genuine revelation, but I was very, very nervous of suggesting McC III as our album of the month. Macca means too much to me, and I know he means an awful lot less to the rest of you, and means nothing at all to at least one of you! In all honesty, I was worried that it’d be ok but nothing more, and we’d spend the podcast ripping apart my greatest musical idol. Maybe that is what will happen, I don’t know. But this album has floored me. I never ever expected Macca to ever make another song that I really cared about, and certainly not (nearly) a whole album of them. I have listened to this album constantly since it came out. It has wrapped its arms around me and it’s now going to be part of my life forever. It’s the greatest musical surprise of the year.
So let’s talk about what works for me. Firstly, he’s relaxed and he’s himself and it just sounds honest and joyful. I’ve struggled even with the lauded albums of the last 20 years (Egypt Station, Chaos and Creation…) – to me, they sound like a shit hot producer has overproduced some slightly workaday McCartney material. None of them have really stayed with me. I think the lack of producer has completely liberated him. He didn’t even know he was making an album. You can literally hear him in the studio messing around on these songs. And bloody hell, what a musician he is – the drumming on the opening jam! The octave harmonies on Find My Way (and the harpsichord), the crunching guitars on Slidin, the crazy loops of vocals on Deep Deep Feeling.
What I also love is that he’s showing his full range – folk ballad (When Winter Comes), hard rockers (Lavatory Lil, Slidin’), pop song genius (Find My Way), slow tempo melody (Pretty Boys), hell even a song that – as Joey points out – sound like it has a Mac Miller RnB vibe (Deep Down). It’s an extraordinary range he’s showing. The album’s centrepiece, Deep Deep Feeling, goes even further, an astonishing 8 minute delve into tape loops, gorgeous soulful vocal experiments that feels raw and beautiful, and for me, justifies every second of its length. I do wonder if that song might divide opinion big time – it’ll be interesting to discuss.
The other surprising strength is his voice. I remember hearing him sing at the 2012 Olympics and being sad that his voice was clearly ‘going’. Well, he’s no longer trying to hide that. He’s 78. He’s an old man, and his voice sounds gruff and aged, but to me, at least, it’s an integral part of the album’s charm. It was when I was listening to Women & Wives that it hit me – this is very similar to the Johnny Cash albums he made at the end of his life with legendary Def Jam producer Rick Rubin. This is an old man wearing his age on his sleeve. You can hear it in the stoic lyrics of Pretty Boys – he was once one of those boys a long time ago. Not anymore.
Not everything works, let’s be really honest. His lyrics are a mixed bag, and I probably like them a lot more than the rest of you, but I can see that if you’re not digging all 8 minutes of Deep Deep Feeling, you might find them a bit cloying. The Kiss of Venus is a very ordinary song, and the one stinker on the album for me is Seize The Day – a naff sub-Beatles pub tune with bloody awful lyrics about being nice and something about eskimos. It’s a reminder that he’s never that far away from Mull of Kintyre if you’re not careful with Macca. But for me, that’s the only song I actively dislike. There is joy and musical interest to be found in every other tune, though I do also agree the opening jam could lose a minute or two.
I’m fully aware I’m writing as a fan of a man who has defined my life. I can’t imagine what this album feels like to a casual listener, or someone who’s not that bothered about The Beatles (also, what is WRONG with you?!). But I hope there is something in there for everyone, even if you don’t have quite the response I’ve had. Think this could be a really interesting discussion, anyway!
I wonder if this is his swan song. It certainly feels like a last race round the block – a chance for him to flex his musical muscles and remind everyone of his range. Or maybe, even better, this is just what Macca does when he’s locked down – write better songs than anyone else can. The comparison with Bowie’s Blackstar is interesting – obviously Blackstar is a much darker, existential record. That’s partly because Bowie was facing death and he knew it and that’s what he was writing about. But also, Bowie is a more existential soul. Macca is an optimist who believes that things are ‘getting better all the time’. Maybe this is what’s inside him at this age – a man who still wants to be there for you, who still delights in nature and the simple life, but also feels the pain of ageing and being in love. A lot of those kind of things aren’t very cool anymore, if they ever were, but I don’t think he cares about any of that now. He’s done everything. He’s written everything. He’s just the most famous musician in the whole world, jamming around in his studio for fun, and somehow out pops an incredibly coherent album, a last little musical present from the master. I couldn’t be happier about it.
Well, this is going to be an interesting Album of the Month.
Each one of us on the blog/pod has a history with Sufjan Stevens. Some longer than others, some with more passion than others. But that doesn’t mean that we agree on all things Sufjan. Quite the opposite it appears. And if there was a Sufjan album to force a wedge between our personal preferences … then this is it.
My history with Sufjan was a little delayed given the wave of adoration that followed ‘Illinois’. Apparently I was a little slow on the uptake. Illinois was released in 2005 (gulp). I didn’t get to it until around 2009. I can mark the time well as my wife was pregnant with my first child and we (over) played it to death. She didn’t have the greatest pregnancy and now can’t listen to the album as it is so synonymous with feeling sick and bloated. Not Sufjan’s fault but still. I then bought the Age of Adz the day after my daughter was born. This album marked a seismic change in instrumentation from Sufjan … one that came with a very mixed (and in the case of David, surprisingly aggressive) reaction. I loved it, but hey, I’d just had a little girl. I would have loved most things.
Then came a silly Xmas album in 2012 … and then in 2015 we chose Carrie and Lowell (C&L) as album of the month. And I think we all agreed it’s close to perfection. As albums that I love to cry along to go, it’s right up there with Put Your Back N 2 it by Perfume Genius. It’s deeply personal, beautifully sparse, hypnotically produced and perfectly written.
A bunch of oddities have been released between then and now. But The Ascension is Mr. Steven’s first proper album since then. Much to David’s shock, the album is ‘Electro Sufjan’ again. But I would state that it is a very different proposition to Age of Adz. Age of Adz was full of pomp and theatrical posturing. I get why some hated it. I didn’t and that’s cool.
I think this album is at least as personal and introspective as C&L. Sufjan was moving from New York to the countryside of America and didn’t have access to his banjos, guitars and traditional range of instruments. He has said that he was limited to what he could plug into his computer. For me, this album does feel like he was ‘constrained’. But I am not sure if this is in a bad way. It’s a very different Sufjan Stevens we hear on this album and I am ok with that. Some have suggested it sounds like he’s ‘trying to hard’. I think this album sounds like he’s ‘trying’, i.e. this doesn’t feel 100% natural and feels less than 100% comfortable … but I am ok with this. I think I am getting into this vulnerability.
Let’s talk about its length. It’s long! 80 minutes. Exactly 100% longer than my preferred album length. There are some long old tracks on it too. The longest, America (12 mins) was the 1st single so it’s not like we didn’t have warning. He also shared Sugar ahead of the release date which clocks in at 7+ mins. He also shared a 15 strong track list for the album. So I guess this has to be considered as a ‘double album’ which isn’t usually a good thing.
You have to make a commitment to this album. I think it only makes sense when you do. I’ve practically listened to nothing else for a whole week. And I have been rewarded. I don’t ‘love’ this yet. But I am loving listening to it. As each track starts, I know that I like each one. There are no tracks here that I would remove. This is true for very few albums. Some tracks i like. Some I love. I think a few of my all time fave Sufjan tracks are on this album. He’s a great song writer and he’s doing something very different. I think we should respect that and applaud it.
Sufjan Steven’s is one of the few artists that when he’s reviewed, lazy critics don’t simply list a bunch of people he sounds like … cause he doesn’t. Other people sound like him. However, there are moments where for the 1st time I’ve thought … oh … he’s doing a Thom Yorke thing there (Ativan) or a Caribou drum production thing (I want to die happy and a few others). I don’t think he’s mastered the electronic craft yet and is therefore referencing others but again … I’m cool with that.
There are a few moments where someone should have tapped him on the shoulder and said ‘that’s enough Sufjan’ (i) America should be an 8 minute track, the last 4 minutes? Sorry but no (ii) Ativan should be 4 mins for the same reason.
So. At this point in time. I am very glad this is in my life. I am glad he’s done what he’s done. Oh, and Video Games is such a surprise. Where did that come from? Single of the year? (I can hear all of your screaming at me for suggesting that one).
Commit to it. Give it some space and time. It does deserve it.
No more needs to be said …
Let’s just get one thing out of the way. Disco is one of the finest forms of pop music. I don’t even want to hear an argument otherwise. But it gets a bad rap. The old ‘disco sucks’ chant still rings in the ears after all these years.
(Cue excuse to repost my own recent disco mix that begins with the ‘disco sucks’ chant https://soundcloud.com/mondopop/disco-demolition)
It’s light. It lacks depth. It’s silly. It’s throwaway. It’s too female, it’s too gay. It’s not the ‘real’ music of boys with guitars (thanks Men on the Internet for your views).
Obviously, this is a view of such reductive idiocy, it’s barely worth debating. if you can’t find the genius in a Roisin Murphy or a Robyn album, then maybe you don’t even like music. If you aren’t moved by ‘I Feel Love’, then maybe you don’t even have a pulse.
Actually, that’s what I like most in a disco track: emotion. Not just to want to dance, but to feel *moved*. And boy, is there plenty of that on this latest offering from our Jessie. Spoiler alert: I ABSOLUTELY FUCKING LOVE THIS ALBUM.
I loved Jessie Ware’s first album, Devotion, which cut a classy nu-soul vibe that felt like a Sade throwback. But I lost my way with her a little, and found her second and third a bit lacklustre, and treading the same path.
I chose this album without hearing it for the AOTM on the back of some really stellar reviews, and from Gay Twitter (or at least, Gay Twitter that I follow anyway…) losing their shit on how good it is.
They weren’t wrong. This is a major reboot which finds Jessie W rejuvenated and raring to go. Working with former Simian Mobile Disco stalwart James Ford, they mine the musical past in search of nuggets, and they nearly always come up with gold.
The most obvious influence is Italo-Disco and House of the 80s (and I LOVE that shit). The title track could be a lost classic. But it’s enormous fun hearing all the influences that went into the melting pot of this record. Opener Spotlight is a smooth opener that could easily be late Kylie. Ooh La La is total Nile Rodgers-era Duran Duran. Soul Control and Read My Lips are 80s soul-disco in a Gwen Guthrie ‘Ain’t Nothin’ Goin’ On But The Rent’ style.
And then the other obvious shadow on this album. No, not Roisin, it’s not as left field as that: I’m talking about Robyn. And I’m thinking specifically about her last album, Honey (a former AOTM wasn’t it?). Check out Save A Kiss – it could easily sit on that record:
The big questions is – do all these influences turn into something new? Does it feel as fresh and as contemporary as Robyn manages to sound? Honestly – well maybe not quite. It’s certainly lyrically pretty obvious and at times quite trite, which fits the vibe but doesn’t offer that emotional connection that Robyn so often does in her work.
But it doesn’t feel like a throwback record either. I was thinking of Daft Punk’s behemoth, Random Access Memory. Having deconstructed disco and funk in their early work, that album felt more like a more simple homage. I know it divided critics but I LOVE it. This album reminds me of that a little, in that it feels like a love letter to that music, while being very much its own universe.
Of course, the real test will be – will I stick this on at a party? And will I still be listening to it in a year? I don’t know yet, but I’d take a guess that I will be.
What’s Your Pleasure? Mine’s certainly this album.
Cometh the hour, cometh the album.
Sometimes a record captures a moment in time so perfectly, it becomes a symbol of that moment. I honestly believe that RTJ4 might be one of those records.
I don’t want to be a big review like we normally do, I’d rather we used this as a kicking off point for discussion – this is a ‘free album’ month after all, and we’ll get back to the proper AOTM for July.
But…I was thinking a lot about what Brother Nolan said on our live chat the other week, that he thought it was one of RTJ’s weaker releases. I don’t know about that. I know that I’ve listened to this RTJ’s album more than any other that has come out. BY MILES. Now, maybe it’s the times we’re living in, maybe it feels like even more of a reflection. But this is a lean, mean beast. Clocking in at 39 mins and 11 tracks, it’s the length of an album from the 1960s, not a hip hop album in 2020, which, let’s face it, is ALWAYS ALWAYS ALWAYS TOO FUCKING LONG.
That brevity seems to give the Killer Mike and El-P a laser focus, and honestly, I don’t think there’s a wasted moment on this record. No, not every track is out there political. Yes, the conceit of them as two outlaws on the run (referenced on the opening and closing tracks) is a little obvious and they don’t go anywhere with it. Yes, Ooh La La is a total throwback tune (but come on, WHAT a tune).
But seriously, there are four or five cuts on here that are essential to anyone at any time. Guests are used really well – like, they bring something to the table every time. Pharell’s collab (along with a great cameo from Rage Against the Machine’s Zack de la Rocha) on JUST is as good a thing as he’s done in a long time – what a fucking smart track that is, expressing something complex and angry at the same time, . And a banger too. PULLING THE PIN is straight out astonishing, the addition of Mavis Staples voice adding so much pain and anguish to the track. And the Gangsta Boo tune WALKING IN THE SNOW is, to my mind, as good a track as they have ever made. It’s so angry and articulate and it smacked me sideways when I first heard it.
Basically, I love it. I can’t stop listening to it. It’s gonna be one of my albums of the year. Over to you, brothers…
Hi Brothers. Another lockdown AOTM. However, lockdown has nothing to do with why I chose this album by Mac Miller. This album was released in early Feb. so for me, it’s history pre-dates ‘all-of-this’ / ‘what-with-one-thing-and-another’ / insert your favourite ‘lock-down-euphemism’.
I could have chosen less risky AOTM options but figured that we all know what the Strokes sound like. Therefore I chose Circles by Mac Miller. Again, I cannot claim to be a an expert in this artist. I came to this early in 2020 when surfing through Meta-album-of-the-year sites. This album kept on showing up in the upper reaches of their meta-review scores. Also, it seemed to be one where the listener scores were very similar to the critics reviews which always makes me pay attention. So, without any further fannying around I downloaded the album, got stuck in and found myself listening to this loads.
I found it a rewarding album to listen to in full and in parts when time was limited. Tracks started to stick in my mind and the the tracks started to open themselves open. When you first listen to it I can feel really pleasant and accessible, it will make you smile and feel pretty good about life. However, I would be surprised if at some point (early on) you didn’t think it was a little dispensable … but I do think it deserves a little more attention. There’s obviously a big chunk of melancholy driving this album. I noticed that when the tracks started to unfold on repeated listens a comfortable but uncomfortable feeling started to creep over me.
It was this odd feeling that made me go back and read the reviews of the album. I think I am glad that I listened first and then read the reviews later. It turns out that this is a posthumous release. Mac Miller died in 2018 of an apparently accidental overdose. The Guardian described him as a capable but derivative frat-rapper (didn’t even know frat-rap was a thing) who started to experiment on later albums with a softer approach. He was a mult-instrumentlist who collaborated with the LA instrumental hip-hop crowd (Flying Lotus et al.). He was also in a long standing relationship with Ariana Grande, the end of which sparked his turn in musical direction.
He released a critically acclaimed album ‘Swimming’ in 2018 before his death. He left a significant amount of material that was developed by Jon Brion (friend, producer, composer) with the blessing of his family. Jon has kept the feel of Swimming (which he co-produced) on this album. Sparse, gentle, elegant and spacious production allows this album to flow around what turns out to be some beautiful lyrical content.
I rate this album. I keep coming back to it. It seemed perfect on the cold, dark commutes into Manchester … and on the cold, dark commutes home. It’s great music to cook to. It has a low-F-bomb-count. Low enough that Stacey’s never noticed so it gets plenty of air-time in our house. It also felt like the perfect album when it was 23 degrees last weekend. I think this will stay with me for a long time. I can hear loads of influences but nothing that I think is over-bearing. There are moments of Neptunes-esque and Neptunes-quality production that make me smile. It’s a lovely little thing. I hope you enjoy it.
Welcome to a new year and a new decade, brothers. After a month off and all of us caught up with last year’s excellent music, let’s start off with a look back – with the reissue of one of rock’s great lost albums.
“Underrated” is a word we’ve discussed before; it is, of course, too easily used and often described things that have not been that highly rated for a good reason. As a bit of a vinyl junkie, and an aficionado of all things 60s and 70s, many are the ‘underrated’ albums I’ve bought, only to find they languished in obscurity for a damn good reason.
So let’s start with a bit of background for Mr Clark. Founding member of The Byrds, he quickly became the band’s main songwriter, and wrote an astonishing number of their well-known songs (Eight Miles High, I’ll Feel A Whole Lot Better, Set You Free This Time). I hadn’t quite realised what a creative driving force he’d been in the band – especially when you consider this is a band with Roger McGuinn and David Crosby in it. The band used to call him the ‘Hillbilly Shakespeare’, because of his incredible talent for mystical lyrics despite his humble background.
However, he didn’t stay in the band beyond the third album, partly because of a chronic fear of flying, and partly because the rest of the band were pissed off that he earned more because of the songwriting royalties.
I really like the Byrds, always have, and as a Beatles nut, I’m hugely aware of their influence on the band – it was the Byrds jangling 12 string Rickenbacker that got Harrison to pick up one of his own and start adding it to the Beatles sound – which you can clearly here from Rubber Soul onwards. But I wouldn’t say I *listen* to the Byrds that much. Like The Beach Boys, I hugely admire what they did, but I don’t check in with them much.
Like a lot of the counter-cultural American rock artists of that era, Clark’s solo work after The Byrds showed him flirting quite heavily with country rock, particularly with his Dillard & Clark albums with bluegrass guitarist Doug Dillard. It’s pleasant enough stuff, but Gram Parsons, another Byrds alumni, was doing this stuff so much better.
All of this is a way of saying – Clark was obviously an insanely prodigious talent, but once he left The Byrds, there was no suggestion he was about to do anything that groundbreaking in his musical career.
It’s 1974. Clark has briefly rejoined a reformed Byrds, and the resulting album impresses mega-producer David Geffen enough to sign him to Asylum Records. This is the hippest, hottest label in the US at the time – home to Bob Dylan, Joni Mitchell and The Eagles. Geffen gives Clark a pretty whopping budget to go and make the album of his dreams….
What first hits you about the album is its ambition. Wikipedia helpfully describes this as “country rock, folk, gospel, soul and choral music with poetic, mystical lyrics”. It’s fucking extraordinary. Just listen to Strength of Strings alone. It’s a masterpiece:
(Eagle eared listeners of a certain age might recognised this as covered by This Mortal Coil on one of their albums. Perhaps it’s no coincidenc that it’s their label, 4AD, that put out this reissue.)
The other thing about No Other is that it also kind of sounds like everything – and then you remember that the ‘everything’ you’re thinking of came AFTER this record. Fleetwood Mac and Rumours in particular owe an enormous debt to the freewheeling genre-hopping of this album, as does some Dylan mid to late 70s output. As for the millennial era, this albums has clearly been a huge influence to a million bands, from Grizzly Bear (who’ve covered No Other songs live) to Arcade Fire to The National to every other flipping American indie band who’ve ever flirted with Americana.
So why is it so underrated? Why wasn’t it sitting next to Rumours in your parents’ record collection? Well, when Geffen heard what Clark delivered him, he lacked the vision to understand it. He thought it was a piece of shit, and berated Clark both privately and publicly, then spent nothing promoting it. That, along with frankly bizarre 1920s looking cover that gives no hint of what was inside, meant that Gene Clark’s incredible album bombed.
He never recovered from the devastating disappointment, and fell into the depressingly familiar cycle of drugs and addiction, and though he staggered on through the 80s, he never made an album of this stature again. Addiction eventually took his life aged only 46, in 1991.
What he has left is an album that can genuinely stand shoulder to shoulder to much of the greatest rock music of the era. And you can hear in that plaintive voice that he is delivering the album of his life. It is a tragedy too often told in the music industry that an artist has die before their work is appreciated. It’s never truer than with Gene Clark and No Other. Let’s at least be grateful that the ‘Hillbilly Shakespeare’ got to make his masterpiece.
While we’re a-waiting for FKA to drop, I thought I’d share an album that has really got under my skin. sir Was is a dude from a remote Swedish village and this is his 2nd album.
It was this collaboration with Little Dragon on the album that first caught my attention. You might have heard it, 6 Music have been rinsing it, and I put it on that recent comp I posted on here:
So then I checked the album out. First couple of times I listened, I thought – yeah, this is quite cool. But it’s pretty downbeat and quite minor, and maybe I won’t stick with it for long. But I did. I really did. I keep coming back to it and playing it, and it has totally got me.
So here’s the thing – it is one of the most undefinable sounds I think I’ve ever heard. It’s not dance music really, not at all, but it feels like it’s made my someone with those sensibilities. But his voice and the production also sounds like lush 70s West Coast pop. And then there are other really interesting tracks that sound like – yes, really – This Mortal Coil and Cocteau Twins. In fact, this album could easily be on 4AD.
It really is the most beguiling mix of stuff. And the three tracks I’ve posted on here (the only ones on YouTube) are the more obvious end of the album. But I’d be really interested in what you think when you immerse yourself in it. It’s not a long album and it’s very easy and enjoayable listen. But what I love is how it’s opened itself up, the more I’ve listened to it. It had hidden depths. I flipping LOVE it when music is like that.
So there you. An October bonus. Check him out.
So, after a month of for summer hi-jinx – getting married! moving house! raising kids! Listening to music! – we’re back, back, back!
So here’s the long-awaited new offering from a band that are very beloved of this parish. Off the back of a pretty sweltering run of belting singles leading up to the album, the question on everyone’s lips (well, mine anyway): have they finally made an album that can stand up to their masterpiece, THE ENGLISH RIVIERA.
But then it’s never easy with Metronomy, so even answering that question is quite tricky. Joe Mount is such a wilful bastard, and clearly likes doing whatever the fuck he wants, and never more than on this 17 track album that features 6 instrumentals. Chasing the Rock n Roll Hall of Fame is not top of Mount’s aims in life.
The answer is YES and NO at the same time, and because it’s Metronomy, I think you probably know what I mean. It is undeniably the band’s strongest offering in years, and thought Summer 08 had a couple of belting tunes on it, I personally don’t think they’ve made a properly cohesive album since Riviera. For the record, I thought Love Letters was a steaming pile of crap.
Forever has two very very big things going for it. Firstly, it has a really wonderful set of songs on it. From Lately to Salted Caramel Ice Cream to Insecurity to The Light to Sex Emoji (yes, even Sex Emoji), this is an album overflowing with funky, fresh ideas and the kind of Metronomy songs you long for – the kind you’d end up adding to a Best of Spotify compilation.
The second thing I love about this album is that it really does feel like a complete piece of work. Songs flow into each other, and even some of the instrumentals, which I initially found indulgent and overly-long, really start to come alive (a work trip with a lot of walking around London with my headphones changed my view on these). You can hear Morodor and early Daft Punk and even some kind of freak folk influences on some of these, and I think it’s quite brave of Mount to go for it, when you could have just have made a very tight 9 track belter.
However, let’s not kid ourselves. Any 17 track album has superfluous filler. Hell, even The White Album’s got Bungalow Bill and Wild Honey Pie. The second half of the album is perhaps lighter on the really strongest stuff, and it starts to sag a little. And there are moments when Mount’s use of repetition – which he uses SO cleverly in his songs – is just too self-indulged. Mount himself jokingly said the album was pretentious and too long when he was asked about it. Or maybe he wasn’t joking. Who knows?
So sure, in time I’ll probably flick past the odd track or two. And there are moments that are a lot less than necessary. But mostly, it feels vital and fresh and 20 times more interesting than anything most artists are doing, let alone after nearly two decades (yup!) of making music.
Metronomy Forever? You betcha.
Welcome to ‘Oh My God’ by Kevin Morby. This apparently is his 5th album. Described by some as a secular Gospel Rock album. I’d never heard of Mr Morby until I googled best albums of the year 2019 (so far) and he kept popping up on everyone’s lists. I was going to Barcelona for a week with work and I like to take new albums on trips like that. If the albums work for you then they always remind you of the place and time which I love. I always take new tracks / albums on holidays for this reason too.
My route into this album was relatively easy. I always like Dylan’s gospel phase … and I’ve grown to … at least respect Leonard Cohen, through the good work of my wife Stacey. The influences on this album are obvious but for me never over powering and Kevin (hee hee) always makes it sound like his own (there’s even a little Father John Misty and Lou Reed in there too).
This album has some of the best writing I’ve heard in a while. Each track is a memorable tune. Some more than others naturally but I love this album from start to finish and could find a place in many different types of mix tapes for all the tracks. Lyrically I find this album strong as an ox. I think the sequence of tracks is close to perfect … and the instrumentation is right up my street. Bongo’s and Congos? Tick. Church Organ? Tick tick tick. Listen to Hail Mary – best organ use since Rolling Stone by Dylan? Layers of brass? Oh yes. Harps? Yes. It’s mostly guitar and piano driven but the above instruments make this sound rich and demanding of a closer listen.
I have no idea how you guys will receive this … but Oh My God. I love it.