Well, I don’t think this is necessarily my own guilty pleasure. This may very well be a guilty pleasure everyone shares. My guilty pleasure is pop music. Cheesy, catchy and damn-eternal-sunshine-pop. Happiness comes in many forms for me. Rock music gives me an unwarranted thrill and chaos that no other genres provides. Jazz makes me relaxed and complacent, and intrigues my musical mind into how it is composed. Metal is a mind of its own and does whatever it wants to do to its listeners. But, pop … pop gives me a feeling of happiness that is unparalleled with the rest. Worthy for a good sing-a-long or the fastest way for a cheer-up, bright pop music brings unbridled joy. Despite the connotations that pop has from those certain listeners, you can’t not enjoy pop for what it’s worth. Whether it’s the comprised electronic pop, bubblegum pop, indie-pop, or just the downright “I shouldn’t really be listening to this” pop, we have all our favourites – what’s yours?
G’morning folks. I hope all is well – we have another conversation starter with you today – what’s your favourite band? The controversial, the favourites, or the questionable; it does not matter, no one is judging you here with your favourite music bands. Let me know!
For me, I couldn’t possibly narrow it down to just one band. I would have to say some of my favourites worthy in the collection would be St.Albans Alt-rockers Enter Shikari, artsy-jazzy Jamie Cullum and of course, it’s got to be the best rock band in the world – Queen. Tell me otherwise if you don’t agree …
Flawless in creation, The Slow Rush is an episodic concept that draws on temporal themes of the unending cycle of life.
Similar to that of a slow rush in itself, we seemingly crash through our lifetimes – without actually having a sense of feeling about them at all.
I felt like I heard Tame Impala’s deep dive of The Slow Rush for the first time, in a fever dream. More so a surreal escapist than that of your generic music artist, it is no wonder his ravenous audience is lapping up every morsel Tame Impala (Kevin Parker) gives us to consume.
After all, we hadn’t spoken about Tame Impala (Kevin Parker) elusive acts of music since his commercial corner of Currents. That was back in 2015. 2020, and we have the return of said fever dream with The Slow Rush 5 years later.
Drawing on ideas witnessing your own lifetime whizzing by in a mere lightning bolt, The Slow Rush is a piece of work that praises the unending cycle of life. This unending – and simply unnatural feeling – is ever-present in its song names too, as it draws on elements of oxymorons with Instant Destiny, Tomorrow’s Dust and Lost in Yesterday, that as phrases, give you no feeling of resolve or – dare I say it – a formative ending. The album concept name itself Slow Rush, gives us an impression of these temporal themes, perceiving the problematic feeling of rushing our passage of time without actually feeling it at all.
The album even ends on Parker longing for One More Hour – despite seemingly wasting his time, as he originally requested a longer duration of time at the beginning of the album with One More Year. This emphatic illustration draws on us as humans to unduly ask for more and more time – despite already having it.
But, of course we come to the eventual realisation about it all with, Is it True and It Might Be Time – with Parker reciting, “something doesn’t feel right” when we do realise it is our time to eventually face the music.
With that said, Tame Impala’s ebbings and flowings of creating stills in music has been prevalent since his first experiment with InnerSpeaker in 2010. Giving the music project name of Tame Impala, insinuating that it is indeed a band behind the music, Parker’s approach to psychedelia, dystopia and surrealism has reached the breaking point of the genre we know it as, “psychedelic rock”, and ultimately smashed Parker’s music into a genre of its own.
Despite the disjointed efforts of Parker recording one half of the album in Los Angeles and his own home studio in Fremantle, Australia, the album concept is anything but. The Slow Rush just adds to the ever-existing beauty that fulfils Parker’s music already.
New rife rock middle-ages mafia.
Fresh, bold and stark-raving mad, cleopatrick are a worthy accompaniment to murder.
Not a murder in the ordinary sense of the word, no. The murder of a genre we once knew as rock – a genre which had become far too complacent with the drip-tap of pop trickling through its cracks. The Ontario best-buddies hard rock duo are becoming the known from the unknown with their blistering slap-in-the-face boom that makes Royal Blood‘s new music work of Limbo sound like a pansy. Although dressed as the fashionable duo – similar to those as Royal Blood and the White Stripes – their music has a beautiful sense of youth, hostility and freshness that we’ve not really heard before.
Hoping to collate their work into a debut album this year – rather than the feral singles we’ve received so far – they’ve forewarned us not only to watch this space, but to start chipping away their mark within the rock halls of fame too, as they’ll soon be entering them.
Anarchic favourite hometown, explosive GOOD GRIEF, shrill-thriller of youth and doom-and-gloomy sanjake, top the bill of the band’s extent to writing future-cult classics – and we can only imagine there’s room for more.
More importantly, they have shown us they can’t just create quick-biters worthy of four minutes or so – but can create the dirty lingering types, too. Divining inspiration from the likes of Frank Carter & The Rattlesnakes, belly button blues is an instant favourite that tops the lot for me.
My friends are wasted
And I don’t even care
I’m in my basement
Texting girls that aren’t even real
My youth is gone and I know it
After hearing their most recent, THE DRAKE, which was released in early March this year, we can certainly expect their debut in the coming months – especially after picking up so much traction after their first EP via “14” in 2016.
Pulled straight from the archives of an old hometown gig they played, THE DRAKE‘s official video perfectly showcases the rampant display of their telling of a high-school bully story.
It’s all quiet in the cleopatrick camp for now … but we’ll hear the notorious thumps de thumps soon I’m sure.
Keep up to date with Cleopatrick HERE
Striking the distance between the strange and the curious, Collections from the Whiteout draws everlasting collaborations – but holds its own with Howard still prevalent as the inventive singer-songwriter.
If I told you that Aaron Dessner of The National had a major hand in producing and spinning his thoughts into Howard’s fourth successive album, you’d instantly understand it’s thought-process. A simply inventive piece of studio production, it merely avoids the dooming darkness that we saw on predecessors Noonday Dream and I Forget Where We Were, and brings a new intriguing oddity to his writing work.
Despite lacking its consistent catchy flings that we saw in amicable favourites Keep Your Head Up and Only Love, from his loveable debut, Every Kingdom back in 2011 – the elusive narratives, rustic thrills and heart-ache guitar pangs from Dessner make it an album worth writing about.
As he careens from his original path of the folk/vocal combo and instead diving into a distortion of electronics, it just tells us more about what kind of singer-songwriter Ben Howard is. Compelling, inventive and simply unafraid to embrace change.
With single stand-outs few and far between – as it’s best as a collective – Sorry Kid, Crowhurst’s Meme and Finders Keepers are some of my favourites from the 14-track album. With themes less thought-provoking but rather taken straight from snapshots of news articles, the album is rife with collaborations and inspiration from seven co-collaborators who all have a hand-in making Howard’s next masterpiece.
While it may veer away from Howard’s original sound and sometimes veer off too much, it still manages to keep itself grounded allowing Ben to still flourish in moments of bitter-sweet beauty. While it’s a saddening moment to not hear Howard again flex his own acoustic compassion and folky vibes from Every Kingdom, just the musical journey alone he is undertaking is good enough for me.
Other album reviews for this month: