taylor swift

Single Review: Taylor Swift – ME!

Two years after the release of her hit album Reputation, which shocked the world with her dramatic snake motif after the suspenseful anticipation, Taylor Swift is back again and entering a new era.

Her brand-new song ‘ME!’, featuring Panic! At the Disco’s Brendan Urie, is about “embracing your individuality and owning it”.

The ingenious lyrics promote self-confidence, with the repeated lyric in the chorus: “I’m the only one of me”, “I promise that you’ll never find another like me”, and “you can’t spell awesome without me”. Taylor Swift provides all generations with the reassurances that being confident and comfortable with yourself isn’t selfish – it’s healthy.

The hit of the chorus with the cymbals provide an uplifting and motivating feel which instantly categorises it as a summer, feel-good jam

The prominent drums allow the upbeat rhythm to be consistently linked to the melody and beat of the lyrics throughout. The hit of the chorus with the cymbals provides an uplifting and motivating feel which instantly categorises it as a summer, feel-good jam.

The feature of world-famous Brendan Urie brings a smooth, light-hearted and slightly-edgy element to the song, which only promotes it further as what is sure to be a hit single.

After her previous album suggesting emotions of aggression and annoyance about society’s assumptions about who she is, this new track announces her new state of contentment and pride with being individual and entirely herself, despite what people may think.

it is clear that Swift has consistently maintained her personal sound stamp throughout her career – an emotional, empowering, and enlightening experience in every song

Notably, at the beginning of the creatively clever ‘ME!’ music video, the teasing of the snake which suddenly jumps towards the camera and transforms into peaceful butterflies is illustrative of this transition between eras, which has received a lot of praise across social media.

Browsing through Taylor Swift’s discography, there is a clear distinction between each of her albums which can each be defined themselves as eras of her career. However, it is clear that Swift has consistently maintained her personal sound stamp throughout her career – an emotional, empowering, and enlightening experience in every song.

Album Review: Ward Thomas – Restless Minds

It goes without saying that England’s country music scene is only really just finding its feet, with the genre having primarily been relegated to Nashville despite having a degree of popularity in the UK. Considering this, Ward Thomas’ claim that they are Britain’s biggest country stars might not be untrue. Their previous two albums peaked at Number 1 on the UK country charts with their second album, Cartwheels, reaching the top spot on the UK official albums chart in 2016.

Ward Thomas’ claim that they are Britain’s biggest country stars might not be untrue

Indeed, previous albums have seen Hampshire twins Lizzy and Catherine Ward Thomas gradually drift from the binds of straight country into more pop-influenced avenues, much like Taylor Swift. Restless Minds sees them utilise their brand of slick country pop and clever song-writing, but it looks more outward regarding what country pop can be: there are flickers of 808 drums and reverb as well as moments steeped in a simpler folk, all accentuating punchy and melodramatic country music.

From its opener, ‘No Filter’, we are pulled into the restless minds of Ward Thomas. It opens with 808 drums and the remnants of piano chords as they sing of being “dressed to the nines, we’re stressed out but fine, go out every night” and “lost in the dark”; it’s a gritty but glitzy image of disillusionment that is only strengthened as the duo harmonise that “I re-position my hands, my hair, my cheek/ so you might listen to me”. But this image of helplessness is shattered by the sledgehammer of a chorus which posits a world of honesty where you didn’t need a “filter”. It is certainly a grand way to start the album, and it is positively restless.

From the opener we are pulled into the restless minds of Ward Thomas

This continues in ‘Lie Like Me’ which sees the girls discuss the lies of a “picture perfect” life as they show us “another sunrise, here’s another good time, and here’s my outfit of the week” – arguably listing all these so called perfect moments but instead positing that something deeper is going on underneath, much like ‘No Filter’. Sonically, ‘Lie Like Me’ is Ward Thomas reworking Taylor Swift’s ‘I Knew You Were Trouble’ but with less interesting dance influences. Every time they edge towards branching out of country pop they step back into their comfort zone.

Every time they edge towards branching out of country pop they step back into their comfort zone

Both ‘One More Goodbye’ and ‘It’s Not Just Me’ feel a little more down to earth, instead focusing on the difficulties of relationships – especially when one party is constantly on the move and, well, restless.

‘Rather Be Breathing’ makes an attempt to be more interesting. While having an acoustic guitar at its heart, it is shrouded with wisps of jarring layers, for the most part. But the strange whistling sounds, heard between repetitions of the phrase “I’d rather be breathing”, do nothing to take the edge off the thick wall of country pop. Instead they feel quite grating.

‘Rather Be Breathing’ is shrouded with wisps of jarring layers

It is arguable that the album slows down towards its final act. ‘Changing’ feels aged, like a pause in the midst of Restless Minds’ hurry. A clear attempt at grounding the album. But with four songs between this and the final song, Ward Thomas’ music grows tiresome.

The final song, ‘This Too Will Pass’, feels like an attempt at a completed arc in comparison to the album’s theme of restlessness; it’s refreshingly stripped down and folky – arguably one of the best songs on the album with its satisfyingly light acoustic timbre and warped vocals. But it shouldn’t have taken 15 songs to get to this point.

It is clear that Ward Thomas are trying to portray the slowing down of restless minds. There is a cohesive progression from grand, glossy country pop into clear cut folk. And yet in spite of its super shiny production, Restless Minds feels highly basic; the themes covered in the 15 songs – the emphasis on disquietude and romantic troubles – feel samey. And at its core, there is nothing particularly new going on in Restless Mind.

“This is only the start!” An interview with Pale Waves’ Heather Baron Gracie

On the last day of the Pale Waves UK tour, I was lucky enough to interview lead singer and songwriter Heather Baron Gracie at the O2 Academy in Bristol about tour life, home life, musical and aesthetic influences, and loving pop music.

So it’s been a really big year for you guys! You came fifth in the BBC Sound of 2018; your debut album, My Mind Makes Noises, has just come out, and now you’re on tour. How are you feeling?

It just feels like everything is going at once, so a lot of the time you don’t really get a moment to take it in. It’s like a fast train. Exciting though!

How are you enjoying tour life?

I love being on tour! I prefer it to the studio. The studio stresses me out.

I imagine a studio is quite a closed environment.

Yeah, I mean you have to go back to the same place every day and you spend hours looking at the same four walls… It just does my head in.

I can imagine that. So where’s your favourite destination and venue on tour so far?

Japan was amazing! Australia was too, but I found it similar to New York. But my favourite place has definitely been Japan. Just because there’s so much going on and the fashion’s amazing.

It sounds it! In the past tour life has been seen as this really hedonistic lifestyle of sex, drugs, and well… Mick Jagger! Would you say that your own experiences fit the stereotype or do you think that’s all in the past?

I think it depends on each band – I mean I’ve met bands that do hold that reputation, but then there are bands like us that just aren’t like that. I mean the worst thing we do is drink loads of alcohol!

You’ve cultivated this amazing Gothic aesthetic. What does the term ‘goth’ mean to you, and would you say it’s part of your identity as a band?

I wouldn’t say we’re a traditionally Gothic band. I don’t want to take away from the goth culture, but we are influenced by goth fashion though. Whenever we call each other Goths it’s normally as a laugh.

Pale Waves was formed in Manchester – Tony Wilson, co-founder of Factory Records, once said that ‘Manchester kids have the best record collections.’ Do you think there’s any truth in that?

I sound quite biased because I’m from Manchester, but I think Manchester definitely has a great music scene.

You’ve got a lot of history there.

Of course! You can tell when a band is Northern or Southern. You can just tell. But I don’t agree with the whole idea that just because a band is from Manchester they’re going to be a good band. People think that because we’re from Manchester we have a step up. But you can be from anywhere, and if you write good music, people will listen. Not just because you come from a destination where it’s previous artists have done well. In a lot of my interviews, people say ‘you’re from Manchester, are you happy to be from there?’ Well, yes I am! But not because The Smiths are from there.

you can be from anywhere and if you write good music people will listen

I guess when you see this hallowed scene full of big names, people begin to wonder if there’s something in the water. But what were you listening to growing up?

I was listening to Avril Lavigne… I was also listening to a lot of bands my Dad listens to, because he’s musical as well. He listens to Bob Dylan, Fleetwood Mac, The Cure… ACDC as well, but I don’t really like them anymore.

I think your parents do influence your music taste. You don’t want them to, but begrudgingly, you realise they do. Would you say you have any musical guilty pleasures?

I hate when anyone calls something a musical guilty pleasure! I’ve had some people say we’re their guilty pleasure because we’re pop. It’s usually those who write pop music that people call guilty pleasures. I don’t know why that is! I really like simple music. I love Justin Bieber! I think he writes amazing pop music. I listen to all the pure pop artists like Taylor Swift and Charli XCX… I just love all of it!

It’s usually those who write pop music that people call guilty pleasures

In your song ‘Karl‘ you say you tattooed the name of a song you wrote on your body. Do you do that with a lot of your music and lyrics?

No not really, I have a tattoo of Hide and Seek which I think is what you mention, and I’ve had that for years. I have “Ciara” (name of Pale Waves band mate) tattooed on me. I am going to get My Mind Makes Noises but I don’t really have any lyrics.

I think the song ‘Karl’ closes the album in a very powerful way. The way you explore losing family, and that feeling of losing a part of your history, is really poignant. Would you say song writing is a form of therapy for you?

Yes definitely, I mean that’s why I write music. I’d prefer to avoid an awkward conversation and write about how I feel. Which is strange because I go out on stage and give this song to everyone rather than having a conversation with someone!

An audience is a lot more anonymous.

Yeah exactly. It’s easier in comparison to sitting at home and talking with my Mum about it.

That makes perfect sense. So how does Pale Waves go about writing songs? How collaborative is the process?

It’s mainly me and Ciara. Ciara dominates the musical side of things. She’ll write something on a laptop; the drum beat, bass, and some synths. Then she’ll show me it. I’ll either have a song ready, or I’ll take that as an inspiration. Or it could be the other way round. At the moment I have six songs waiting, but she’s not caught up with me. So the process is very equal. I’ll write guitar parts, and then at the end we’ll jump into each other’s pond and tell each other what could be done better.

So it’s mainly you and Ciara leading the band. It sounds like you’ve got quite a strong relationship.

Oh massively! Ciara’s the closest person that I have – as well as my Mum, Dad, and brother. We’re like a part of each other. We are completely different but we’re very similar at the same time. I’m this fiery, hot headed person and she’s very relaxed. I feel like that’s how we balance each other; she tells me to calm down and I tell her when to stick up for herself… Or I just attack that person instead! (laughs)

Ciara’s the closest person I have

I think we all need a friend like that though! So what’s next for Pale Waves?

We’ll finish this tour – first we’ll go to Europe, and then America, which takes us to mid-December. Then we’ll have a few days off. Then we’ll go on The 1975 tour in January.

In January The 1975 are coming to Exeter so we might see you there! So no plans for any new music?

Not for a while… But we’re writing a lot. We have an EP coming out next year – if it all goes to plan.

So you’ve got an EP coming out next year! Will you get a break at any point?

It’s always nonstop for our band! We have like two days off. I think we’ll have a week off where we can go home around Christmas time, which will be nice. I just love going back home and doing normal things.

There’s nothing like going home for Christmas.

I know. And it’s weird because I come home and it feels different. Different but not different. Now I’m in a band with people I really love.

In a way, they become your second family.

Definitely! And then I go home and I’m the Heather that everyone’s known since birth. But it’s strange because my Mum has friends whose daughters and sons love Pale Waves. It’s changed their lives a bit as well! And this is only the start!

‘Look What You Made Me Post’ – The (re)birth of celebrity activism

Taylor Swift’s recent Instagram post urging voter registration for the Tennessee midterm elections shocked many about her sudden engagement with politics. Some reactions were positive, filled with admiration for the pop star, whilst others found Swift’s newfound voice rather absurd, often pointing at her young fan base and career choice to discredit her opinion. Celebrities using social media to express their political opinion is not an unfamiliar concept, so why is one megastar causing so much uproar?

Twitter serves as an accessible outlet for the voices of celebrities such as Chris Evans and Lana del Rey, who have often turned to the platform to express their concerns with the current political climate in the United States. It doesn’t require as much effort as writing and producing a song, as done by Childish Gambino and repeatedly carried out by Bob Dylan. Perhaps it’s a more accessible alternative to creative outlets and can cause as much of a reaction as the next “This is America” or “Hurricane.” However, frequent tweeting about political affairs may often result in a lack of shock value often needed to grab society’s attention.

Furthermore, it provides an alternative to how we digest our information and approach discourse. We no longer have to rely on the mainstream media and localised protests as the main showcase of political opinion. Although the physical acts of rebellion performed by celebrities have died down, there is a certain beauty to the angry voice that has arisen amongst the famed, especially when looking at Taylor Swift’s recent Instagram post.

Swift has always been rather apolitical, choosing the role of the bystander rather than of the activist. However, the current midterm elections in her home state of Tennessee have obviously changed Swift’s approach. Her worries lie with the state senate candidate Marsha Blackburn, who has a rather consistent past of voting against congressional motions that would benefit members of the LGBTQ+ community and help alleviate the burdens often faced by women within society.

Moreover, celebrities aren’t the only ones who know the influential effects of social media activism. Figures such as U.S. President Trump often find themselves using the 280-character count to harness their opinions on a rather impulsive whim. Direct attacks are often seen flying in from all sides, often sparking feuds that mix the political with the personal.

Overall, I congratulate Taylor Swift on her bravery. The transition from silent to vocal will always come with a backlash, and she has handled her critics with grace. Social media has given us a new platform for voicing our concerns. Not only is it making it easier for us to express our dissatisfaction with the actions of certain political leaders, but it forces others to take notice of differing interpretations of what is going on in the world. Whether it’s listening to Kanye West’s enthusiasm for #MAGA, or Danny DeVito’s attempts at encouraging voter registration, we find ourselves exposed to the opinions of our comrades and our foes.

‘I just can’t wait for the next year of my life’: An Interview With Emma Blackery

Five EPs, two headline tours and one tour supporting Busted later, Basildon-born rising pop act Emma Blackery has been catapulted into international fame over the past year, and has recently released her first track of 2018, ‘Dirt’, which has already racked up nearly 400,000 views on YouTube since its release and has been met with high praise by her many fans and online followers. I spoke to her about the single’s inspiration, her other projects and what she’s currently looking forward to listening to this spring.

Congratulations on the release of your new single, ‘Dirt’! How has your last week been since its release?

My past week has been pretty hectic! There’s been a lot of stuff going on, and lots of new things I’m waking up to every day – I’ve been doing interviews and lots of stuff with Spotify, adding the song to playlists. Just the overwhelming support I’ve had from people who have supported me for a long time, it really has been overwhelming. To the point where I’m pretty tired right now – but it’s been wonderful.

The song is doing well on the Spotify playlist too, isn’t it?

It’s number five on the UK Viral Chart, which is a complete surprise that that many people are listening to it, and it was added to New Music Friday, which is a huge playlist and just a complete honour. I’ve been trying to keep tabs on everything, but it’s just amazing to receive so much support.

I’ve read that the lyrical inspiration behind ‘Dirt’ comes from personal experiences, at the same time, naturally, your musical style has developed in the last few years, who or what inspired you to reach your current sonic?

When I was younger, before my early teens, I loved pop music. Then I became more into rock and pop punk, so I sort of neglected pop music for a while. But over the last year or so, I’ve really come back into it and I’ve been loving the tracks which are so popular right now – Dua Lipa, I absolutely adore, Taylor Swift’s new music, Katy Perry, and I really want to create a ‘power pop’ sound as it’s been missing from my life a little bit. I always think that when you create art or any kind of music, you need to try and fill a void which you think is missing. I just wanted to make something light-hearted and fun, so I’m happy that it’s coming across that way.

‘Dirt’ has a lot of clever lyrics – is there a line in the song you’re particularly proud of?

I’m so proud of the song as a whole, I wrote it back in August when I was feeling sad about a personal issue I was having with somebody. But I’d say the line “using my name for fame, yet you say you’re self-made” – I quite like that one.

Can we expect more of this style from your album?

Yeah definitely! The album is still in the works and we still have quite a bit of work to do with it, but I’m really proud of the sound. Whilst every song has a different twist to it, it’s all very fun and just enjoyable and light-hearted – I just can’t wait for the next year of my life!

I always think that when you create art or any kind of music, you need to try and fill a void which you think is missing

Among your other projects is your debut book, ‘Feel Good 101’ – how did you find writing a book after writing songs? Obviously the two are very different, but did you find there were certain themes which are easier to cover in a song rather than a book or the other way around?

I’d say with a song you’re allowed to be vaguer. Lyrics can be interpreted in many ways, but really, you’re the only one who knows the backstory, who knows the meaning. But when you’re writing a book, you have to go into more detail and give more context about what you’re saying – you’re telling stories. It’s a completely different experience, I can’t really compare the two and say one is better than the other. I really enjoyed writing the book, but it was quite difficult at times going into things in such depth. Whereas with a song, you can write lyrics, and you know what they mean, but others relate them to their own lives instead of relating them to their own lives, rather than reading a story by someone else.

Thinking about artists such as yourself and the likes of Carrie Hope Fletcher, Bethan Leadley and dodie, how have you found the media’s general response to artists who also happen to make YouTube content?

I think we’re breaking boundaries every single day. I think at the start, perhaps a few years ago, it wasn’t taken very seriously. People who wrote music and put it online themselves, it was seen as almost a daunting thing and it hadn’t been done before, but I think now, the industry is opening up and seeing that there is a ton of talent out there, it’s just a completely different way of putting music out there. Whereas maybe twenty years ago, to get the industry to listen to you, you had to send in a demo tape or a cassette and hope that maybe they’d write back to you. Now, your work is already out there, you’re able to generate a fan base maybe without needing a label to do it for you. I think in the years to come, they’ll be even more acceptance of people that connect with an audience in their own way.

How important do you think YouTube is as a platform for independent artists?

I wouldn’t say it’s absolutely essential. There are tons of places out there such as SoundCloud and Bandcamp – people post videos of themselves to Instagram and labels pay attention to that. I would say that YouTube is definitely the most unique platform in being able to put yourself across in video form rather than text, but ultimately there are so many ways now for social media to catch the attention of artists and the industry. I wouldn’t say it’s necessary, but it’s definitely helped me a lot and I’m glad that I’ve been able to build a fan base on there over the last six years – I have nothing bad to say about it!

Your previous EP Magnetised had its artwork used in the global reveal of the iPhone X, as an unsigned artist, what impact has that had on your career?

I woke up the next morning finding out that I had an entire day of interviews for magazines that I’ve been reading my whole life, websites which have so much prestige, it was the most overwhelming twenty-four hours of my entire life! Suddenly everyone I know in the phone book was texting me and congratulating me. At the time, I didn’t really understand the impact, but finding out that it had gone out to millions of people around the world at the same time was incredible, and I think it was definitely a step up in making people take my music more seriously, in a way, because suddenly it wasn’t just the people who enjoy my music acknowledging it, but people who had never seen my art thinking “who was that?”. I feel like it definitely opened a lot of doors for me.

I’ve been enjoying following your ‘365’ playlists and now your new ‘Womenspiration’ one on Spotify – it’s a great idea for your listeners to be able to hear the type of music you’re into – what made you decide to create those playlists?

I really want to try and use streaming services as a social platform. I don’t think a lot of artists really connect with their fans in that way, whereas that is really the only way that people will listen to music these days. Streaming is a big deal, and if you can catch people’s attention and help them see you as a human whilst they’re listening to you, that’s an incredible thing. People who don’t follow you on Twitter or YouTube or Instagram, but like your music, suddenly they know what music you enjoy, and I wanted to be able to introduce people to music they maybe hadn’t heard of or even inspire them.

What are your main hopes and expectations for your autumn headline tour, which you maybe haven’t had about previous tours?

Obviously being able to perform the new music for the first time – I haven’t even begun to think about production-wise how it’s going to translate into a live performance, I’ve been so wrapped up in recording the album that I’ve kind of put that aside for now! But I know that once the album is out, and I get to perform these tracks for the first time and I’m able to show people what I’ve been trying to put forward in the message of my music, it’ll be incredible. I can’t say too much about it yet because it’s so far away, but I know it’s going to be exciting.

I think we’re breaking boundaries every single day

Lastly, after this week’s sudden announcement of the new Panic! At The Disco record, which upcoming releases are you looking forward to or currently loving? As a Paramore fan, what were your thoughts on last year’s After Laughter?

Jack White’s album came out today, and that’s really the one I’ve been looking forward to. I’ve been a huge fan of The White Stripes since I was about thirteen, so that was definitely something I was happy to see this morning. Apart from that, really I just want twenty one pilots back! I don’t know what they’re doing right now, they’re quite quiet at the moment so I’m hoping this year there’ll be new material. Then as you said, the new Panic! album should be great – I did not expect another one for months or maybe another year or so. It feels like Brendon (Urie) has only just finished touring the last one. I loved After Laughter, I stayed up til midnight to hear it and listened to it all the way through. I think it’s wonderful – their best work to date, personally. I know the sound is dividing a lot of people but it’s clear that they’re doing what they love. I got to see them live a few months ago at the O2 and they just seem like they’re having so much fun. It’s great to see – I’m glad they’re happy!

As the interview ends, I thank Emma for her time and reflect on her last answer – fans of hers are clearly pleased to see her happy too and are as eager for her new music as she is to put it out into the world.

‘Dirt’ is out now on all platforms.

Fresh Produce

Max Martin. You might not have heard the name, but you most certainly know his production credits. From Britney Spears’ ‘…Baby One More Time’ through to Taylor Swift’s ‘Blank Space’, Martin has dominated mainstream popular music since the end of the last millennia and alongside his frequent collaborator Karl Johan Schuster, known as Shellback, Martin has almost come to define modern pop. In other genres, certain producers can be equally as significant, forcing their way into the public eye (or ear). Metroboomin is one such figure, and has even worked the line “If Young Metro don’t trust you they gon’ shoot you,” into songs by Future, Drake and Kanye West. The 24-year-old Atlantan-native is as close to fame as producers get without being on the mic themselves and his style has pushed several rappers into stardom. Most notably, Metro worked on Migos’ smash hit ‘Bad and Boujee’, culminating in weeks at number one and a shoutout from Donald Glover. Not too bad for someone yet to have their 25^th birthday.

But it’s not just these figures that stand out. No one can have missed the phenomenon that is Kendrick Lamar and commentators frequently exalt the roles of collaborators like Kamasi Washington and Thundercat on Lamar’s albums. But rarely do they give credit to Sounwave, whose production runs through all four of Kendrick’s diverse studio albums. Producing key tracks on such varied and challenging albums should be enough to earn Sounwave praise, yet the man doesn’t even possess a Wikipedia page!

A listen to ‘King Kunta’, one of the most popular songs on To Pimp a Butterfly, will reveal why this is a travesty. The drum kit fades in, and within seconds you are throw into a vicious track that addresses the state of rap music, fame and the plight of black people in America. Lamar’s delivery and content is at its most boisterous here, but the cut is one that has instant appeal and never feels too heavy. It is testament to the production that this song manages to remain both eminently danceable (if that’s not a word it should be), and keep the listener slightly on edge. Combining a groove that could have been plucked straight out of any Funkadelic track with some ethereal synths and a haunting guitar lick, Sounwave makes a track perfect for Lamar’s meditations. The increasingly complexity of subject matter mirrors the music too as further elements are added, concluding in an almost overwhelming final 30 seconds.

These songs reward close and multiple listenings

Another producer known for their construction of densely layered songs is Jack Antonoff, who some might know better from his roles in Bleachers and fun. After being thrust forward into the limelight by producing the wildly popular and divisive Taylor Swift single ‘Look What You Made Me Do’, Antonoff’s work deserves some appraisal (and indeed praise). Perhaps the trademarks of his work are the driving, glistening and slightly nostalgic synths that propel tracks forward; these can be heard in his recent collaborations with Lorde, Taylor Swift and St Vincent on their new albums. Working with these artists, Antonoff creates complex soundscapes, often packed with surprising elements, but does so in a way that is suitable for mainstream pop. These songs, like ‘New York’ and ‘The Louvre’, reward close and multiple listenings to deconstruct and discover the layers he and the artists build on a track.

Arguably the work that demonstrates the producer’s aforementioned talents most acutely is Melodrama, the long-awaited sophomore record from Lorde, released this year to widespread critical acclaim. In the podcast Song Exploder (go check it out, it’s great), Lorde describes how naturally and quickly Antonoff was able to interpret her ideas, whilst also leaving his distinct and indelible marks on the album by including extra details. In the lively and frenetic ‘Sober’, this unique touch takes the form of feedback that provides a backdrop to stimulate rising tension in the pre-chorus. Similarly, St Vincent explains how Antonoff kept adding layers to the ballad ‘New York’ until it formed a coherent, yet complex whole. The diversity of these tracks also goes to show that Antonoff is capable of crafting interesting music whatever the tone of the piece.

As for the surprises I mentioned earlier; here’s a little game. Put some headphones on, have a listen to Lorde’s ‘Sober’, and see whether you can spot the tiger’s roar. Good luck.

Album Review: Ryan Adams – Prisoner

Two years ago, Ryan Adams postponed production of Prisoners to experiment with the track-by-track remediation of Taylor Swift’s 1989. After waiting three years for self-written content, and a ‘heartbreak’ album tackling his divorce from Mandy Moore, we were instead given an indirect sense of Adam’s initial wounds vicariously via Swift’s own emotional lyrics. Rather than Prisoners becoming an album which bellows and screams raw emotion, what we have instead, (as an almost sequel to his heartbreak explored in 1989) is an austere tone, which is deeply critical and open about his relationship, gliding into self-confession and acceptance of a love lost. There are mellow self-restrained undertones of Bruce Springsteen’s Nebraska, twinned with slick clean guitar nods to Jonny Marr, giving a potentially cold album warmer melodic layers.

‘We Disappear’ is a dreamy, and heartfelt ode to love lost

Yet, there is no escaping a downright sense of loss. The album glides from an 80’s power ballad of ‘Do You Still Love Me’, to an introspective cathartic melancholia of ‘We Disappear’, in which we can picture Adams on the ‘Outbound Train’ viewing the sense of loss, “disappear” and “fade away”. The title track’s soft harmonica preludes the opening cry of ‘Doomsday’, neatly blurring and creating subtle connections throughout the album. ‘Prisoner’ opens with Adam’s pleading “free my heart/somebody locked it up” only to later condemn himself; “I am a criminal”, a melancholic jar against dreamy harmonics. Exclamations of regret and frustration permeate into the gorgeous guitar blasts of ‘Doomsday’, twinned with the crying of the harmonica opening, preluding Adam’s appeal; “my love, we can do better than this”. The whining guitar and harmonica, bridges the gap between the headspaces of interiority, in ‘Prisoner’ and ‘Haunted House’. In the latter, Adam’s maturity, both artistically and emotionally is evident, unashamed to admit “I don’t want to live in this lonely house anymore”.

Indeed, beautiful minimalism sits just before halfway on the album, in ‘Shiver and Shake’. Blurring clean chords against 80’s synth, Adams masters simplicity. Heralding Springsteen’s ‘I’m on Fire’ and Bon Iver’s For Emma, For Ever Ago, we are enveloped with muted emotion, chiming guitars and Adam’s strong yet haunting vocals. Restrained outpours such as “I’ve missed you so much I shiver and shake” and “if I wait here any longer I’ll just fade away”, encapsulate Adam’s vulnerability, the album slowly gliding us towards an emotional climax of ‘Breakdown’. A surprisingly upbeat yet narcissistic ‘Outbound Train’ employs heavy reverb, before Adam’s claims “I swear I wasn’t lonely when I met you- I was so bored/ I was so sure”, seeming somewhat indifferent to his realisation “I don’t know anything, anymore”.

The album winds down with ‘Broken Anyway’, ‘Tightrope’ and ‘We Disappear’, all self-explanatory in encapsulating the acceptance of the inevitability of romantic failure. The outro to ‘Broken Anyway’ is almost euphoric, whilst the piano and sax outro of ‘Tightrope’ encapsulate the finer, minimalistic tones of the album. Prisoner deserves to be played in its entirety (no shuffle, please). Its brilliance and poignancy derives from Adams’ balance of a ‘Tightrope’ of lamentfull emotions, sustained throughout all twelve songs. Ending on a far from glamorous self-critique; “you deserve the future, you know I’ll never change”, ‘We Disappear’ is a dreamy, and heartfelt ode to love lost. The fade out blurs a crunchy guitar riff and synth with a snippet of a woman’s laughter; concluding Prisoner after riffling through emotional “rubble” relishing in “the parts I want to save”.

Album Review: Jimmy Eat World – Integrity Blues

“Oh my god I love this song, I used to listen to this in middle school!” Declared culture commander Taylor Swift in her latest Apple Music advert as she jammed to Jimmy Eat World’s 2001 (and endless Guitar Heroes) hit, ‘The Middle’. Does their latest album contain classics on this level, or is it another adult break-up album with nothing new?

Being their ninth collective output since their 1994 debut amidst the height of emo and pop-punk’s mainstream popularity, Jimmy Eat World’s new album, Integrity Blues, sees Jim Adkins and his band generate enough heart-warming choruses to heat a large hot-tub and sauna. Although the album has managed to draw attention back to the aging group through delicate guitars and crisp vocals; as the band seek to escape the dreaded ‘pop rock’ label (whilst still maintaining a wide appeal), the formulaic radio tracks that still riddle this album lack the life and feeling that Adkins’ passionate lyrics yearn for.

can we find the profound and jagged jimmy that we’ve recently been Estranged from?

Released on the same day as emo band American Football’s highly anticipated comeback album, Jimmy’s contribution seems overshadowed – albeit critically rather than commercially. While Jimmy Eat World deliver similarly earnest vocals, the unique jazzy tempos and constant aural captivation that are granted by American’s Football are replaced by Jimmy Eat World with repetitive song structures and symphonies of power chords. However, within Integrity Blues, past these Chris Martin choruses, can we find the profound and jagged Jimmy that we’ve recently been estranged from?

Following on from the churning guitars and ear-wakening instrumentation of the hopeful forth track ‘Pretty Grids’, the haunting ‘Pass the Baby’ is where Jimmy Eat World properly provide. Industrial and eerie, the tone mustered by this song is melancholy and suspenseful. Suddenly, with an intense swelling guitar gain, the track crashes into a break-down of stamping riffs and drums in a gutsy eruption and abrupt deviation from the album’s initial melodic tranquillity. With the previous songs seeming insipid, this aversion is speculative, making the track vast and refreshing. Now at album’s centre, is the worst behind us? Will the album’s second half be a masterpiece? Maybe this is what they meant by ‘The Middle’.

fans of the band and any straightforward rock will listen to this album with adoration

Then leading into the first and most promising single from Integrity Blues, ‘Get Right’, Jimmy Eat World take an empowered stab at revisiting their iconic Bleed American style. Despite its compelling combination of catchy song-writing and heavier instrumentation, the song is simply a mediocre rehash of a sound many have loved. Equally, the album’s other single ‘Sure and Certain’ looked to take their triumphant pop rock from Chase This Light and pummel it with overproduction and more harmonic take-offs. Another track that missed its potential is the album’s title track. With roughly recorded vocals, the song is distant whilst simultaneously intimate. The raw and atmospheric voice reaches echoed heights, but the thick string section backing Adkins’ humble vocals swallow the track’s attempt at a stripped back tear-jerker. But in good Jimmy Eat World fashion, Integrity Blues features the brooding seven minute closer ‘Pol Roger’ – if only the album could have started from here onwards.

Ultimately, fans of the band and any straightforward rock will listen to this album with adoration. But also, with the same disappointment that every artist earns when they don’t quit while ahead.

Tracks to check out: ‘Pretty Grids’, ‘Pass the Baby, and ‘Pol Roger’.

Art to Art: Laura Betts

This week, we’re featuring the artwork of second year English and Drama student, Laura Betts…

“The inspiration for drawing with biro on maps came from my love of doodling. I draw on anything; tickets, books, notes. I love having a background to draw on, as it adds so much more interest. In an art project on To Kill a Mockingbird, I began using location to inform my art which led me to start drawing on top of maps. Biro is, in my experience, much easier to work with than pencil or paint. However, it is very unforgiving. Once a stroke has been made, there’s no going back. These mistakes would be obvious on a plain piece of paper, but the lines on a map disguise them and even help to make the drawing become part of the maps features. I also source a lot of inspiration from art accounts on Instagram and I love experimenting with different materials and methods.”

Ink on paper

More of Laura’s art can be found on her Instagram:

@laurasuzanne_

Album Review: Ellie Goulding – Delirium

Ellie Goulding
Delirium
6 November 2015

Pop Princess Ellie Goulding’s third studio album, Delirium, demonstrates just how far Goulding has evolved since she was crowned BBC’s Sound of 2010 five years ago. Long forgotten are Lights’ folk-twinged, wispy-voiced ballads, replaced with full-blown, club-ready electro pop that first emerged on her 2013 album Halcyon and confidently progresses here on Delirium to define Goulding as a well-established figure in mainstream pop, up there with the likes of Taylor Swift and Katy Perry.

The transition to electro-pop and indie dance has been done effectively, and it is encouraging to see that the best of Goulding has not been lost along the way. Lyrics of heartbreak and relationship struggles, which epitomise her heartfelt storytelling, remain, but are weaved in with more confident, sophisticated production. This polished sound can perhaps be attributed to collaborations with industry legends Max Martin and Greg Kurstin, who further legitimise Goulding’s place among the pop elites – Martin has worked with Taylor Swift and Delirium is, for Goulding, a move not unlike Swift’s transition from American country girl to international pop star.

‘Intro (Delirium)’ is an impressive opening to the album, with Goulding’s vocals sounding hauntingly beautiful; however, ambiguity surrounds the song. It is an unusual opening in that it sounds like an ending – perhaps it is a Goulding letting go as she fully embraces mainstream dance.

EVERYTHING SHE DOES HAS A ‘KIND OF HEARTBREAK’ TO IT

Here embracing of pop begins with ‘On My Mind’, the album’s anthemic lead single. Most of the tracks deliver similar pop perfection. ‘Around U’ is a super catchy song that captures the feeling of falling in love and wanting to be accepted and needed in return; Goulding repeats that ‘I just want to be around you, is that too much to ask?’. The production and backing vocals are Swift-like and thus parts of the album are easily mistakable for a 1989, but in a really good way. The 80’s vibe does make ‘Around U’ feel a little out of place, though, compared to the darker tones of some of the other tracks, such as ‘Codes’. Equally reminiscent of Swift, the flirty and sexy language actually hides an underlying insecurity of wanting to put a label on a relationship, a vulnerability that keeps Delirium classic Ellie Goulding.

Underlying darkness is a common theme, and something Goulding herself has commented on, saying that everything she does, no matter how happy it makes her feel, still has a dark side or a ‘kind of heartbreak’ to it. ‘Something In The Way You Move’ and ‘Keep on Dancin’’ are both ravey but equally dazey, tinting them with this darkness. On the other hand, ‘Lost & Found’ and ‘Devotion’ have a lightness that lend them a Eurovision feel. Swedish artist Lelah co-wrote ‘Lost & Found’, a song of female empowerment that Goulding holds close to her heart. ‘Devotion’ is Euro-pop for other reasons – more contemporary Eurovision perhaps, think Loreen-esque – with its use of old-school techno beats, making it the most experimental song on the album.

Overall, Delirium feels like a natural progression for Goulding as she manages to turn relationship issues into shimmery and powerful pop. Some may argue she has sacrificed part of herself to get here – none of the tracks quite match ‘Starry Eyed’, and there has obviously been very deliberate deliberation over how the tracks will transcend into live performance, which really commercialises the album – but the best of her remains as she continues to make music that, although ‘kind of heart-breaking’, manages to be uplifting.