On “Reach Out”, Tucker begs, her voice a little sleeker than Brownstein’s but no less commanding, “Reach out and see me, I’m losing my head.” Quietly discordant piano ballad “Broken” pays tribute to Christine Blasey Ford, the woman who accused supreme court judge Brett Kavanaugh of sexual assault: “Me, me too, my body cried out when she spoke those lines.” The Center Won’t Hold is a reference, it seems, to the 1920 WB Yeats poem “Second Coming”: “Things fall apart, the centre cannot hold.” If this is Sleater-Kinney falling apart, then what a beautiful collapse it is. If there’s a twist here, it’s final song “Georgia”, which takes its classic-rock licks straight out of the Eagles’ songwriting book. (Alexandra Pollard)It seems as likely as Old Man Steptoe dining with the Rees-Mogg, but this new tactic of burying their confrontational gruesomeness beneath a veneer of alt-rock respectability for album three works well for Fat White Family. The tempo-shifting country-folk song “Get Set Go Kid” layers guitar, keys and subtle, harmonising backing vocals, unexpectedly building towards a cacophony of syncopated piano and saxophone.
“Disconnect me from my bones, so I can float, so I can roam,” sings Brownstein – her singular voice all yelps and creaks – on “Hurry On Home”. The latter is a wide-eyed, strings-laden gem, its childlike, questing lyrics poignant whatever your age.
His own sharpest critic, he winks at the journalists who’ve called him glacial as he drops from remote, icy falsetto into a richly grained, deeper tone to ask: “Doesn’t it seem much warmer?” (Helen Brown)While he recognises his roots and includes plenty of nods to grime, AJ Tracey's magpie’s eye for a good melody or hook extends far beyond that. She sings about the fear of the unknown on “Flying Blind” – her steely determination on this record has you believing that she’ll take the leap regardless. Born in 1909, she was still a powerful, playful force when I interviewed her for this paper in her eighties. “If he’s a serial killer, then what’s the worst that can happen to a girl who’s already hurt?” she asks. On Remind Me Tomorrow, written during her recent pregnancy and the birth of her first child, Van Etten dims her spotlight on toxicity and instead casts a warm glow behind the record’s psychic overview. (Roisin O'Connor)Solange Knowles has never been coy about the intent behind her music. "The singer/songwriter lashed out further by adding, "Keep groveling over you own insecurities and hatred. Slide guitars give way to violas, which usher in eerie synths. (Roisin O'Connor)This is an ambitious creation, meticulously crafted and assembled. (Mark Beaumont)On Cage the Elephant’s fifth album, Social Cues, frontman Matt Shultz reacts to the breakdown of his marriage and the loss of three close friends. And where better to dream than from the comfort of your own digs? (Roisin O'Connor)Why Me? But the detached chorister vocals of a decade in which he battled depression have thawed to reveal a millennial Sam Cooke crooning: “Can’t believe the way we flow, way we flow, way we flow...” The warm splashes of piano that washed over that song break through the anxious rattle of dance beats on the album’s eponymous opener, the singer so regularly reviewed as “vaporous” promises to “leave the ether, assume form” and “be touchable, be reachable”. The album’s lead single, “Me!”, is peppy and poppy in all the wrong ways, a rictus grin of a song that rings hollow. It’s masterful production. The most insightful comments on all subjects will be published daily in dedicated articles. l enjoyed the muted, Afro-tinged authenticity of “Level Up” and the conscious, pasty-girl reggae of “Business Dinners” (on which she refuses to be an industry angel) and I loved the Robyn-esque rush of “Basic” (which sees her yearning to shed love’s complications). (Alexandra Pollard)The album is packed with personal confessions for the fans – “Arianators” – to pick over. He has Springsteen’s rousing holler, and the early indications of someone who could be the voice of a generation – not because he wants to be, but because he sees things and understands. Over the album’s 12 tracks, ghostly organs and minor-key guitar-picked sequences help to conjure this dark, Gothic vibe. (Elisa Bray)“I don’t know where I’m going,” Tyler, the Creator begins on the song “I THINK”.
It’s no wonder she’s lent it to the likes of Perfume Genius, Drugdealer and Ariel Pink: it adds a touch of profundity to everything it meets. Chvrches' post went on to call the two artists "predators and abusers", with Tyga responding in the comments, "Everyone makes mistakes no ones perfect. In a way, Grim Town portrays the journey from adolescence into young adulthood – with all the introspection, resignation and wide-eyed forays into love that entails. Whether it’s in the physical structure of a property that’s shaped you over the years, or in the familiar sounds of the music and culture that your people have crafted, there seems to be a call to return to what is familiar. Ronson’s production is so sharp that you all but see the steel strings rise like a hi-definition hologram from your speakers.
The New Zealand artist seems to derive a particular glee from unsettling her audience. Her whispering, spectral delivery and deeply personal lyrics are the key to this. This is Metronomy at their most ambitious and pleasurably weird.
It’s a bittersweet mourning of her past. (Chris Harvey)“Do you still have that photograph?/ Would you use it to hurt me?” asks Australian indie rocker Julia Jacklin, against the menacing throb of “Body”.
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