Table Of Contents:
- Arcade Fire – Pink Elephant
- Black Country, New Road – Forever Howlong
- Clipse – Let God Sort Em Out
- Danny Brown – Stardust
- Deftones – private music
- Kanye West – DONDA 2
- Mac DeMarco – Guitar
- The Mars Volta – Lucro Sucio; Los Ojos Del Vacio
- Nick Cave & The Bad Seeds – Live God
- Queens Of The Stone Age – Alive In The Catacombs
- Steven Wilson – The Overview
- Tame Impala – Deadbeat
- The Voidz -Męğż Øf Råm
Arcade Fire – Pink Elephant
Arcade Fire moves on without Will Butler and works with legendary producer Daniel Lanois, whilst dancing around recent controversy.
Following a PR scandal, where Win Butler was accused of “inappropriate behaviour” from different women, as well as Will Butler’s departure from the band, expectations were low for Arcade Fire’s new album. It seems like people’s minds were already made up before this album released, and despite it being significantly weaker than their best work from 2004-2013, it’s still an album with its moments. With saying that, many of the album’s elements are recycled from older songs, which were executed better there, but it can also be seen as a culmination of their works.
Open Your Heart Or Die Trying is an ambient instrumental opener that doesn’t really go anywhere or do much. The song then segues into the title track, which feels like modern Arcade Fire’s take on their old sound. Not as warm as anything from Funeral, nor does it have the same level of conviction, but it has glimmers of that indie rock style that they helped make famous. The band has grown and expanded their influences since leaving behind their original sound on The Suburbs, but tries to win back listeners with an attempt at nostalgia.
The first single, Year of the Snake, definitely sounds like a Daniel Lanois product, faintly recalling him (and Brian Eno’s) earlier production works, like U2’s 1984 album, The Unforgettable Fire. Circle Of Trust is Reflektor era dance rock. Alien Nation is another electronic track, this time with a tinge of punk.
Ride or Die is one of the band’s most serene and calming songs yet. I Love Her Shadow sees a return of the dance style, with something resembling an Everything Now song. Stuck In My Head tries to emulate the earlier indie rock/post-punk stylings of the band’s Funeral days; it’s not as powerful, but still impassioned.
Instead of addressing the scandal that lost Arcade Fire so many fans over the past few years, Pink Elephant instead opts to act as an apology or love letter from Win Butler to Régine Chassagne, which seems all the more futile, considering the couple eventually split later in 2025
Pink Elephant borrows from all of the eras of the band’s history, but without being able to replicate what made albums like Funeral, Neon Bible, The Suburbs and Reflektor such classics. None of the songs are bad, but they lack the politically-charged lyricism that guided their previous albums and 3/10 songs are skippable interludes. Still, this is a pleasant album with variety.
★★★★
Black Country, New Road – Forever Howlong
BCNR: Elememtary School Musical Edition
Following 2023’s Live At Bush Hall, which was recorded shortly after the departure of vocalist/guitarist Isaac Wood, Forever Howlong finds the band swapping out mature and melancholic themes for lyrics about friendship and positivity.
The three ladies of the group, Georgia Ellery, Tyler Hyde and May Kershaw share vocal duties, with their soft and delicate voices contrasting with Wood’s raw, vibrato vocal style. Their voices are pleasant, but don’t carry any of the weight of Wood’s and thus the stakes feel so much lower, with the anxious tension of their first two albums being non-existent.
Besties was the album’s lead single and pointed towards this new direction for the band, with its harpsichord intro, olde English whimsy, and a lyrical focus on friendship. Two Horses is an acoustic track, with it’s bridge evoking a hint of that jazzy chaos of the band’s debut album; but just a hint. Happy Birthday was another single, with joyful optimism and medieval-like instrumentation. Nancy Tries To Take The Night features an instrumental reminiscent of Chaos Space Marine, and is a long-drawn out epic, much like Snow Globes and Basketball Shoes, though not quite as memorable.
So far, every BCNR album has had a distinct flavour and I can’t fault them for not staying complacent. For The First Time was anxious and neurotic. Ants From Up There was rustic and emotional. And Forever Howlong is bright-eyed and saccharine. It’s just that the latter is easily my least favourite of any of those. In fact, this album reminded me of watching a grade school musical, with how childlike it was; just look at the cover art for further proof.
I liked the edge and uneasiness that Wood brought to the group, as I’m often drawn towards the darker and more tragic side of music, as opposed to the more twee and feminine Forever Howlong.
I will say this: this is a generally pretty album, with impeccable musicianship and typically sublime James Ford production, but the songs can feel a bit loose and formless; lacking the guidance of Wood’s guitar-playing. And it all sounds so benign.
A letdown after the two preceding albums. I feel indifferent to anything else they do without Wood.
★★★
Clipse – Let God Sort Em Out
Clipse returns after 16 years, with a culturally inappropriate masterpiece.
2009’s aptly-titled Til The Casket Drops signalled a funeral for the duo and was a relative dud, when compared to its predecessors, Lord Willin’ and Hell Hath No Fury (the latter of which is easily one of the best hip-hop albums of all time). Where Pharrell William’s production was the perfect compliment to the coke-laced rhymes of the Brothers Thornton (Pusha T and Malice, now known as No Malice), his production on their last outing failed to deliver on what was expected from their 2006 opus, and the album sounded tired and dull. Not only that, but the brothers’ hearts just didn’t feel like they were in it.
Fortunately, Til The Casket Drops proved to be a one-time misstep in Pusha T’s career trajectory (though I can’t speak on his brother’s solo albums, as I’m yet to listen to those). With Pusha T appearing on critically-acclaimed Kanye West songs, such as: Runaway, So Appalled and New God Flow, and releasing a string of classic solo albums that featured plenty of Kanye West production (including all of 2018’s DAYTONA and the half Kanye, half Pharrell-produced It’s Almost Dry in 2022), the younger Thornton brother was one of the biggest and best rappers in the world, and was easily one of Ye’s greatest collaborators.
In 2019, Clipse had reunited as a duo on Kanye West’s Christian anthem, Use This Gospel, but it would take another 6 years before the duo decided to release a new Clipse album. Where their last album ended the duo’s first era with a whimper, Let God Sort Em Out is a masterful return from the grave.
The Birds Don’t Sing features John Legend and is one of the prettiest songs in the Clipse canon. Whips & Chains features a fierce Kendrick Lamar, hot off winning his beef with Drake. Tyler, The Creator makes an appearance on P.O.V., and though I’m not the biggest fan of his body of work, his verse does elevate the song (a version without him appears on first pressings of the album, for comparison).
So Be It, incorporates eastern sounds and is a unique standout in the Clipse catalogue. Ace Trumpets was a wise choice for lead single, showing off Pharrell Williams’ fantasic production. Inglorious Bastards (which was the name of a 1978 Italian war film, long before Quentin Tarantino re-appropriated the name in 2009) is a tour de force of horns.
So Far Ahead and By The Grace Of God both sound like something that could have come out of Kanye West’s late 2010s/early 2020s gospel period, adorned with soulful Pharrell Williams vocals. The title track invites NY rap legend Nas into the mix, rounding off the all star cast of the album.
This batch of songs shows immense growth from Clipse’s 2000s heyday and even from Pusha T’s solo albums. With the born again No Malice’s presence on the album, there’s even more of a Christian influence that permeates the duo’s music, though that’s no surprise coming from a band who’s debut album featured Jesus Christ riding with the brothers in a convertible.
An all-time great comeback and Clipse’s magnum opus.
★★★★★
Danny Brown – Stardust
Danny Brown sobers up and makes a dance pop album, bogged down by C-list features and mostly obnoxious production.
Stardust finds Danny Brown sober, having swapped out alcohol and drugs for working out, hyperpop and 90s dance fetishism. Aside from the positive messaging of curbing bad habits, this album is easily Danny Brown’s worst album, though I appreciate the experimentation.
Book Of Daniel is a red herring, as it features guitars, an instrument that doesn’t reappear anywhere else on the album. It also sounds amateurish and is produced horribly, like it was recorded inside of a toilet. As for the rest of the album: pop with an abundance of feminine vocals and features. There are also these spoken word sections it could have done without.
There is a good song buried inside of Copycat, but all the voices that aren’t Danny’s wreck that potential. The production in Starburst is jarring. Flowers and Baby are hyperpop at its most unbearable. Green Light has excruciatingly annoying vocals, ruining itself from the first second. Lift You Up sounds like music from a 90s workout video. There’s some guy screaming his brains out throughout 1999. The End is 9 minutes of drum n bass and grating Ukrainian vocals.
Did substances give Danny Brown’s music substance? Or has success clouded his judgement? I’m happy for him for sobering up and experimenting, but this album was both disappointing and awkward, with its production feeling like a drill in your ears at times.
All of the songs are quite irritating and the entire project is too feature-heavy, resulting in Danny Brown feeling sidelined on his own project. Every song gave me a reason to skip to the next one, most of which was caused by its features or production. I did not know any of these collaborators beforehand and I care less now.
Honestly, this doesn’t even sound like a Danny Brown album most of the time. Sure, he has no definitive sound (and is thus part of his appeal), but this just seems like it was made for somebody else and he was just tacked on at the end. The production at times can be interesting, but it’s a mixed bag overall.
It seems that Danny Brown released two great albums in 2023 at the cost of releasing a bad one in 2025.
★★
Deftones – private music
Deftones return with a triumphant tenth album, marking 30 years since the band’s debut.
Defying the burdens of time, Deftones sounds as fresh as ever, releasing yet another jewel in their crown with private music.
In typical Deftones fashion, the album takes no time to get started, with the exhilarated, my mind is a mountain, which also served as the lead single. locked club and cXz are similarly heavy tracks, showing that 30+ years of existence has not rounded off any of the band’s edges, whilst still incorporating that sexy, shoegaze bliss that has always counterbalanced the band’s darkness. ecdysis and ~metal dream contain some of their best basslines since the White Pony track, Rx Queen (R.I.P. Chi Cheng).
infinite source and i think about you all the time join the upper echelon of Deftones ballads, alongside the likes of Teenager, Sextape and Entombed, as the band transcends the pitfalls of ballads, transforming them from something once dreaded (think of those awful 80s power ballads) to something sensual that you yearn to hear.
souvenir is one of the album’s lengthiest songs, and ends with an ambient instrumental outro, which plays just long enough to be enjoyed, but not too long to overstay its welcome. milk of the madonna was the second single released for the album and features all of the band’s best elements in one place.
The nu metal tendencies on cut hands wouldn’t sound out of place on Around The Fur, while simultaneously sounding modern. departing the body is the perfect way to end the album, with a slow-burning intro and outro.
Chino Moreno sounds amazing as ever, like nothing has changed. The band shows no signs of slowing down, with this being one of their best albums yet.
★★★★★
Kanye West – DONDA 2
Kanye West finally releases the sequel to his 2021 opus, DONDA.
In 2022, DONDA 2 was released exclusively on a device called the Stem Player, making it a prime target for filesharing, due to its excessive price tag and general inaccessibility. After releasing some initial updates to the album, Kanye soon abandoned the project altogether, making it a lost and forgotten album, outside of a few songs that saw official releases (Eazy, True Love, City Of Gods).
Not only that, but Ye’s business venture with the makers of the Stem Player was short-lived and ended swiftly; the result of his then recent controversies, involving an admiration for a certain Austrian painter. Other partnerships followed suit (like Adidas), ditching Kanye and his soured reputation, and terminating contracts that he had been wanting out of for years.
Three years of Kanye’s most intense controversies later and he finally finishes what he started, with the official streaming release of DONDA 2; including an updated and expanded tracklist, finished verses and improved mastering.
If 2021’s DONDA was a celebration of Kanye West’s late mother and his faith, then DONDA 2 is the bitter, resentful divorce album (à la Marvin Gaye’s Here, My Dear). So, why is it named DONDA 2 if it has nothing to do with his mama? If DONDA was about his mother (arguably the most important woman in his life), then perhaps DONDA 2 is about the other most important woman in his life, Kim Kardashian: his ex-wife and the mother to his children.
TRUE LOVE uses a phone recording from the late XXXTentacion, as Kanye laments about the restrictions around custody and the process of seeing his children after his divorce. BROKEN ROAD is a sorrowful track featuring Don Toliver and GET LOST is an auto-tune acapella song, with nothing but Kanye’s vulnerable voice. People are criticizing the latter for how empty it may seem, but that’s the entire point of the song. It’s just him all alone, with the music reflecting how he feels.
KEEP THE FLOWERS references the fact that Ye had sent a truck-load of roses to Kim, only for the gesture to be all in vain, which just makes him bitter and resentful, telling her that she’ll never find someone better than him. While it may initially seem quite egotistic, we all know how truly insecure Kanye really is and he isn’t trying to convince anybody, but himself.
TOO EASY‘s refrain of: “Ain’t no one love me, I ain’t even gonna love me, I needed you to love me”, displays Ye’s complex relationship with the juxtaposition between his confidence and his low self-esteem. He constantly acknowledges his musical legacy, consistently calling himself the G.O.A.T., and yet he needs external validation to feel loved, even though he is (well, was) one of the most celebrated artists of the millennium. The beat on this song is also one of the best on the album.
PABLO continues the comparisons between Kanye and Pablo Picasso, whose deconstruction of his art style throughout his life parallels Kanye’s musical trajectory. MR MIYAGI (named after the character from The Karate Kid) is back after being missing from the 2022 version of the album. HAPPY may initially seem like a typical trap song, but Kanye saying “Do I look happy to you?” is clearly a cry for help.
SECURITY is an antagonistic banger and has Kanye venting about not being allowed to see his children. The drill song CITY OF GOD was one of the few songs released as a single back in 2022 and has an excellent Alisha Keys hook. It’s good, but not quite as good as the similar Off The Grid from the first DONDA. 530, which was missing from the Stem Player release is finally on the album, and in a shortened form, compared to the version released last year on VULTURES 2; in this case, less is more.
SCIFI is a minimalistic song built around strings and despite the Kim Kardashian Saturday Night Live dialogue and the Morgan Freeman line (you know the one I’m talking about), it’s a beautiful and tragic song. BURN EVERYTHING and MAINTENANCE are two more new songs on this version of the album and are welcome additions contextually. LOUIE BAGS has punchy drums and a hypnotic loop, as well as a Kamala Harris voice sample and has a finished (albeit, using AI) Ye verse.
WE DID IT makes use of horns, such as those found years earlier on All Of The Lights (from My Beautiful Dark Twisted Fantasy) and has a similar vibe to We Major (from Late Registration). LORD LIFT ME UP and FIRST TIME IN A LONG TIME end the album with uplifting songs of faith, and could have fit on albums like JESUS IS KING or DONDA.
Two of the new additions, JESSE and SUZY don’t really fit the theme of the album, but are decent enough. The Game collab, EAZY was removed from this version of the album; a song that felt misplaced on the original release.
A lot of the songs on DONDA 2 may initially seem empty, but they embrace space. This isn’t a typical rap album, nor is it quite like anything Kanye had released prior, though it does share some thematic characteristics with 808s & Heartbreak.
Although Kanye can be a bit callous towards his ex-wife on this album, deep down, this is the work of a man who was afraid to lose the other woman who mattered most in his life, other than his dearly departed mama. At times, Kanye seems like a reality TV show character (which he was); at other times, he seems like a vessel for the highs and lows of the human experience.
DONDA 2 does lose some points for taking three years to get a proper release, as well as its use of AI to finish Kanye’s vocals (thanks to metal grills on his teeth making him unable to rap). There’s also some consistency issues with mastering, though it sounds more finished than the original release.
Despite the many flaws of this album and the artist himself, I still find myself enjoying it in its entirety, just as I have enjoyed all the albums that came before it. It’s flawed, but so his Kanye West.
A tragic album that should not be overlooked, even if you hate Kanye.
★★★★
Mac DeMarco – Guitar
Mac DeMarco goes even more bare bones than Here Comes The Cowboy.
Since 2017’s This Old Dog, Mac DeMarco has practically abandoned his once trademark jangle pop sound in favour of a more minimalistic and mellow, acoustic sound, with his last album Five Easy Hot Dogs even being completely instrumental. Over the past half of a decade, Mac has continued to strip down his music to its core, but this time we are back with a (somewhat) more conventional album (with vocals), albeit a rather bare one. Guitar (a fittingly simplistic and direct title) is Mac’s most understated record yet (along the lines of Here Comes The Cowboy, without any synths), but its simplicity did not void emotion.
The album was recorded in 2 weeks and if it was stripped back anymore, it’d have nothing left. Mac manages to do a lot with so little, but even mastery of such a limited arsenal can go so far. A lot of the songs do sound quite similar.
Mac DeMarco is probably the closest to my generation’s Neil Young, and much like him, I don’t mind the gentle, acoustic sidesteps. With that being said, I look forward to something more unexpected next album, as there really is nothing left for Mac to remove from his formula that he hasn’t already.
★★★★
The Mars Volta – Lucro Sucio; Los Ojos Del Vacio
The Mars Volta leak their own album.
Leaked to fans during their recent tour with Deftones, Lucro Sucio; Los Ojo Del Vacio finds the idiosyncratic Texas group taking a step in the right direction, after their equally polarizing and disappointing 2022 self-titled album.
Compared to their last album (excluding the acoustic version of that album, Que Dios Te Maldiga Mi Corazón), Lucro Sucio feels more faithful to The Mars Volta of yesterday, while also pushing forward in their new direction. It has very few songs with English titles, so it’s nice to see the band embracing their Hispanic roots.
While The Mars Volta was well-produced and confident, it veered too far from their experimental side for many fans, alienating much of their fanbase. In hindsight, it was a very accomplished and bold record for the band to make, just not the one fans (myself included) had wanted after a 10 year hiatus.
This time around, the album actually feels like The Mars Volta we all know and love. The album flows, with every song segueing into another, like an album-length version of Cassandra Gemini from Frances The Mute. This allows for the songs to be more easily digestible on their own, or consumed as part of a whole, satisfying both their prog and pop sides.
Fin ironically introduces the album, then leads way to the similarly brief Reina Tormenta, which then transforms into Enlazan Las Tinieblas, showcasing the band’s penchant for Latin jazz and is one of their best new tracks yet. The Iron Rose is the closest to sounding like the pop from their 2022 album and reminds me of 1980s Phil Collins. It’s a little bit cheesy, but it fortunately feels like the last remnant of their self-titled album and does not taint the rest of this LP. Cue The Sun brings back distorted synths (akin to 2012’s The Whip Hand, albeit more tasteful and subtle), and carries on the Phil Collins influence with a chorus reminiscent of Genesis’ 1983 hit That’s All, and is another standout.
Voice In My Knives is a highlight and continues on into Poseedora De Mi Sombra. Celaje grooves through the listener’s ears with a sexy bassline. Morgana is a sensual ballad that finds the band finding the right balance of pop and art. Considering it was one of the best songs on the album, Cue The Sun (Reprise) seems justified and the title track, Lucro Sucio is a jazzed-up closer.
I wish that some of these songs were longer, by combining the songs that have similar musical motifs, but I’m also not going to question the artistic intentions of Rodríguez-López and Cedric Bixler-Zavala, as they have more than earned the right to structure their albums as they please and to move away from the usual 7-15 minute song structures they were once known for. I understand that this album was probably intended to be listened to in one sitting, but there are still certain tracks that stand out well on their own, if thrown into a mix.
A improvement from anything the band has put out since The Bedlam In Goliath (though Octahedron and Noctourniquet aren’t terrible). After their underwhelming self-titled album, I had lost faith in The Mars Volta, but that faith has mostly been restored.
★★★★
Nick Cave & The Bad Seeds – Live God
Nick Cave & The Bad Seeds perform songs from their latest LP Wild God, along with a handful of classics.
Recorded live in Paris in 2024, Live God showcases Nick Cave & The Bad Seeds in all their glory on their spiritually-uplifting Wild God tour.
Eight out of ten of the tracks from Wild God appear here, along with ten other classics from the band’s storied, 40 year history, including staples like From Her To Eternity, Tupelo, Red Right Hand and Into Your Arms.
I had the good fortune of seeing the band perform these songs on this tour and it was incredible. You could see and feel Cave’s emotion as he played these new songs to his audience. You could feel his vulnerability and naked soul, bare to thousands of strangers, who really aren’t strangers at all, as the music brought everyone together.
A fantastic document of one of the best live shows I’ve ever seen.
★★★★
Queens Of The Stone Age – Alive In The Catacombs
QOTSA records a live EP in the Paris catacombs.
Following Queens Of The Stone Age’s The End Is Nero tour (which launched after the release of their 8th studio LP, In Times New Roman…), the band decided to record a live album in the Paris catacombs, something which had never been done before. In fact, it took frontman Josh Homme nearly two decades to receive permission to record there. This determination led to Alive in the Catacombs and a subsequent tour supporting it.
Released as an EP, the tracklist comprises of acoustic renditions of some of the band’s deepest cuts, including Running Joke (a bonus track on Era Vulgaris), Suture Up Your Future, Kalopsia and Villains Of Circumstance, along with the recent single, Paper Machete.
The only real issue with this project holding it back from a perfect rating, is its length. With a vast catalogue of songs to choose from, an entire album’s worth of material was easily warranted, but seeing how it took the band so long to be allowed to record there, there may have been a short time limit to work within.
Regardless, this is still a unique live project with an interesting choice of songs and a fascinating concept.
★★★★
Steven Wilson – The Overview
Steven Wilson releases an album with two side-long tracks.
Steven Wilson has spent the better part of the past 10 years pushing himself deeper into pop territory than ever before, despite brief flirtations with pop in the past, heard on Porcupine Tree songs like Piano Lessons or Lazarus or his solo songs like Postcard and Hand Cannot Erase.
2017’s To The Bone was a fairly successful blend of 80s prog pop (think Kate Bush, Peter Gabriel, XTC), although 2021’s THE FUTURE BITES was utter shit; its satirical pop failing to transcend its social commentary (not too dissimilar from Arcade Fire’s Everything Now), and marred by plenty of confounding artistic choices. Wilson then returned with the more warmly received The Harmony Codex, which was much closer to the prog stylings his listeners have come to expect, while still retaining elements of pop.
The Overview consists of only 2 songs, clocking in at 23 and 18 minutes long. Objects Outlive Us begins with some experimental synths that sound like drifting through space. After the intro section, some of Wilson’s trademark piano comes in, before giving way to the song’s first guitar solo. A bridge follows, then calms down and leads to a second guitar solo, that eventually concludes the song. The second solo is more typically Floydian (circa Animals), a worn-on-the-sleeve influence of Wilson’s.
The title track sets itself apart from Objects Outlive Us with a stronger electronic sound, more akin some of the songs off his last album, or like 1995’s The Sky Moves Sideways. After about 5 minutes of electronics and female spoken word (like what was found on The Harmony Codex title track), acoustic guitars are introduced and takes things back down to Earth. After what sounds like some classical guitar, the listener finds themselves back into the vastness of time and space, with the album providing one last come down, through electric piano.
This album is perfectly fine, but doesn’t break new ground for Steven Wilson. And due to the songs’ lengths, I just don’t see myself returning too often.
★★★½
Tame Impala – Deadbeat
Kevin Parker releases a polarizing techno/house album as his major label debut.
After spending half a decade as a producer for pop stars like Dua Lipa, winning a Grammy award with French techno duo Justice on their track Neverender, collaborating with Thundercat, and making the odd soundtrack song (Barbie, Dungeons & Dragons), Kevin Parker is finally back where fans have wanted him to be: releasing a new Tame Impala album.
It’s commendable that Parker has been spreading his artistic wings and indulging in his producer fantasies, but I’ll be honest in saying that I cared very little for any of his side projects he’s worked on since his last proper LP, 2020’s The Slow Rush, outside of maybe Neverender.
By forcing himself to collaborate with others, he was leaving his comfort zone and confronting the challenges of being an introvert. But, being an introvert is part of what made him so appealing to millions of people in the first place.
Following another five long years of waiting (the same amount of time between the last two albums), Parker continues to stray further from the psychedelic rock formula that initially brought him attention in the early 2010s, much to the chagrin of fans yearning for a retread of his earlier albums and a regression to the sounds of his past.
Kevin Parker is anything but regressive though, and like many great artists, he never does the same thing twice. While Deadbeat more or less continues on with the synth pop trajectory set by Currents a decade prior and still incorporates a subtle neo-psychedelic aesthetic, the flavour of this album is primarily house, techno and dance rock, though it never feels restricted by genre conventions, nor does it feel off-brand for Tame Impala. It’s Parker’s least psychedelic affair, but is still interesting production-wise.
My Old Ways is a piano-based opener, which starts with what sounds like a phone memo, before transitioning into its full production. Here, Parker (now a father, as evident by the cover art) sings of falling into bad habits (new person, same old mistakes?), but what are those habits exactly? Do they relate to disillusionment with his domestic life (as his family life growing up was anything but conventional)? Is he becoming bored after half a decade of collaborations and retreating to the isolation of his Perth studio? Or is it the habit of changing his sound yet again, which will inevitably alienate more fans?
No Reply carries on the themes of introversion, and switches up halfway into nothing, but delicate, reverb-heavy piano, evoking the sense and peace of being alone, like a zen garden (or in his case, his Perth studio?). Dracula feels like it could have been a holdover from Dua Lipa’s Radical Optimism (where he co-produced 7/11 of the album’s songs), and features a playful disco beat, Halloween vibes (à la Michael Jackson’s Thriller), references to Pablo Escobar and is one of the funkiest things in the Tame Impala canon. This track is just ripe for Halloween playlists.
Loser is one of the few songs with guitar in it and finds Parker sinking into self-doubt, despite massive success. According to a recent GQ article, despite being one of the hottest producers of the past decade, Parker still feels like he’s inferior to the other mega-producers around him. He feels like (in his words), a “piece of shit” compared to them. Rather than bask in confidence, his humility shines through his questioning of his own abilities and through self-loathing.
Oblivion bounces by on a reggaeton-like beat and evokes some memories of Currents era songs, (Reality In Motion), as does Piece Of Heaven, a pop song full of airy, heavenly, Enya-like synths. See You On Monday (You’re Lost) is a song without a beat, and instead focuses solely on its synths and Kevin Parker’s voice. These three tracks are by far the poppiest songs on the album, but comes as no surprise, considering Kevin Parker has been open about his love for Max Martin style production and pop songwriting.
Not My World starts off rather minimalistic, until the second half, where Parker flexes his abilities as a DJ, a new venture he has taken on in recent years. Obsolete is bookended with one of the tastiest bass guitar riffs Parker has ever crafted. Ethereal Connection (originally released as an untitled b-side on the vinyl release of lead single, End Of Summer) is the lengthiest composition on the album, and feels like a 12″ extended dance track from the late 80s. The penultimate track, Afterthought, is similar to Dracula, with a funky bassline.
The album closes with End of Summer, which initially set the tone for the album, when it was released as the first single from the album. Similarly to Let It Happen, it’s a 7+ minute track that slowly evolves and changes throughout its runtime, though its subject matter differs. Instead of letting go of reservations and trusting your instincts, End Of Summer reads to me like an admission that Parker will continue to follow his heart, even if it’s not what his fans want him to do. It’s also one of the best songs on the album.
Some listeners may not embrace the direction of this album, and reviews seem to be quite mixed, but as long as Kevin Parker makes the music he wants to make (and not the music he’s expected to make), then I know that any albums with the Tame Impala name will be authentic and true.
★★★★★
The Voidz –Męğż Øf Råm
Julian Casablancas continues his love affair with autotune.
After the backlash to the previous year’s Like All Before You, The Voidz double down on that same formula, but at only four songs, there isn’t room for any fat.
Once Unholy Lover begins, the 80s fetishism and autotuned vocals quickly begin. Blue Demon was a good choice for lead single. The long-teased, fan-favourite Russian Coney Island finally makes an appearance.
If you didn’t enjoy Like All Before You, then you won’t enjoy this. That album was a guilty pleasure for me, so more of that isn’t such a bad thing, especially as this has no room for filler.
★★★½
FIN
Britain Chambers
