Sawayama – Rina Sawayama
The British-Japanese singer’s debut studio album stresses the importance of family and identity within a person’s life, with tracklist cuts like “Akasaka Sad” referencing Rina’s early upbringing in Japan. Production-wise it is an elevated form of pop, with the eclectic melodies twisted to provide additional emotive messages alongside the lyrics. The catchy electronica-influenced ditty “Comme Des Garçons (Like the Boys)” rejects female gender norms and instead embraces confidence and self-worth, while the dramatic “Chosen Family” lyrically explores connecting with people through similar struggles and livelihoods, forcing the listener to consider their own relationships, delivered in Sawayama’s signature stunning vocals. Meanwhile, the relatable single “Bad Friend” features a sound that incorporates a tense lead-up to the hook accompanied by soaring vocals and haunting figurative language about the breakdown of a relationship.
In addition, the music videos released for singles like “XS” and “STFU!” are more like motion pictures with fully-fledged storylines; the visual for “Comme Des Garçons” particularly stands out, with Rina dressed confidently in typically male clothes and faux-designer getups to make a statement about modern misogyny. All in all the record shimmers unapologetically with energy and truth, complete with abrasive sentiments in the songwriting and addictive vocal delivery throughout and excites me for Rina’s future musical projects.
8/10
Fetch the Bolt Cutters – Fiona Apple
Apple’s first record in a whopping eight years recently became the first body of work in ten years to achieve a perfect score from Pitchfork and is also the first non-retrospective record to score 100/100 on Metacritic, which certainly speaks volumes as to Fiona’s attention to detail on her fifth studio album.
Sonically reliant on percussion instruments and piano, the song structure present in Fetch the Bolt Cutters is often unpredictable, with Apple’s husky vocal delivery is intimately executed in an informal and conversational style that endears the listener to her point of view, and boy does she have a lot to say – she refuses to be silenced in any way on this record, touching on topics such as feminism, the Me Too movement and the media’s heightened focus on celebrities in her witty lyricism filled with defiance. The magic behind the record is drawn from the tangibility of the tracklist – because Apple wrote every single song herself and also played many of the instruments, the listening experience feels that much more visceral, like you’re in the room with her. This is a clear marker of dedication and experience to me, as Fiona is so comfortable in her own artistic skin that she is able to freely venture outside the norm for today’s albums. At the end of the day, the best way I can describe this euphoric record is endlessly and irrefutably alive.
10/10
Earth – EOB
Radiohead guitarist Ed O’Brien’s debut solo album’s instrumentation is defined by an abundance of texture and depth that is sorely missed in the production of many of the records on the charts today. Many members of the track listing share the utilisation of powerful guitar and underlying synths, alongside O’Brien’s surprisingly varied and expansive vocal skills, considering he was usually relegated to background vocals in Radiohead. Sonically the LP generally adheres to the alternative rock genre with elements of folk and electronic music, though in reality the tracklist as a whole is like a kaleidoscope of genre – you can’t really fit any one track into one category or soundscape. Earth is distinctly different to his band’s style and is a breath of fresh air as a result, although at times the tracks feel too understated to be able to get the lyrical messages across clearly; many of the longer songs feature lengthy instrumental breaks that supersede songwriting technique on the record. Despite that, it is an intriguing look into Ed’s individual artistry and is, for all intents and purposes, a successful first album. Some of my personal favourites include the beautifully-sung duet with Laura Marling “Cloak of the Night” (the record’s closing track), acoustic lead single “Brasil” and the rhetorical “Banksters”.
7/10
Song for Our Daughter – Laura Marling
The Grammy- and Mercury Prize-nominated folk singer’s seventh album, pushed ahead from an original August release, is a subdued and sentimental record complete with endearingly organic instrumentation that heralds the relatable songwriting that consistently references Marling’s imaginary future daughter to provide her with advice based on her own life experiences. This is an intriguing concept by itself, but the way in which Laura delivers these warnings in songs such as the superb titular track and “Strange Girl” just accentuates and elevates the concept. Accompanied by intoxicating and emphatic melodies, Marling’s amazing vocal delivery allows her to touch upon the dramatic emotions commonly expressed in childhood to enhance the lyrical sentiments’ relatability and believability. The previously-mentioned eponymous “Song for Our Daughter” is definitely my favourite album cut, with an instrumental evocative of uplifting emotions with a slight twinge of sadness for the unfortunate news she has to impart onto her fictitious daughter, topped off by graceful and soulful vocals that render the track heart-warming yet quiet and subdued. It proves Laura’s mastery over the folk genre after so many years working inside it, and epitomises the values expressed throughout the record. All in all, a brilliant and unique ode to future generations and the issues they will have to face that will roll over from our time.
9/10
Isaac’s Insects – Isaac Dunbar
This release (Dunbar’s first under a major record label) is an emphatic journey through the alternative pop genre in full acceptance of his own identity; the record’s single “Makeup Drawer” was used to detail Isaac’s past experiences with homophobia, and he also used the song to come out. No singular piece of the tracklist feels out of place, as although they all sound different and speak on different issues, all the messages imparted onto the listener feel important and valuable. As a young musician (he’s only seventeen years old), it’s clear that Dunbar is a powerful voice for younger generations and it truly feels as though he believes in what he’s crooning about, whether it be negative thoughts impacting on mental health, toxic masculinity or suicide; all three of these topics are explored in my personal favourite tracks from the extended play: the aptly-named “Suicide” uses vocal distortion to emphasise the depressingly negative effects that emotional abuse can have, and discusses these emotions by relating them to an image of a dead boy – a poignant line for me would be “my skin is very young, but my heart is very old”. Meanwhile, the title track “Isaac’s Insects” metaphorically denotes the effect negative people who drain away at your creative abilities can have on your drive to succeed and mental state in general, comparing them to irritating ants, beetles and the like. Conversely, “Comme Des Garçons (Like the Boys)” – not to be confused with the Rina Sawayama song of the same name – is a glorious rejection of male gender roles as Isaac implores people to not follow the crowd when it comes to masculinity and to stand out and be your own person, lest you risk going “to heaven with a frown” for not expressing your feelings. It’s almost a mockery of society’s ideals and expectations, linking to the many breakthroughs we have had and continue to have in recent years relating to acceptance of all kinds of people, with some people refusing to catch up with the trend. All in all, it’s a sweet and opinionated body of work that acts as a launchpad for his future career and proves that Dunbar is definitely someone to watch over the next few years as his popstar image unfurls.
8/10
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