[Weekly Listening, Week 6 to 8 (Part 2)]
A further nine tracks are lined up for you in Part 2, featuring songs from Republican Hair, MGMT, Eminem and of course Royal Blood. Hype is building for a Friday that promises to deliver some big new albums – namely Panic! At the Disco’s Pray for the Wicked and Weathers’ full-length debut Kids in the Night. Whilst I don’t have time to discuss the four (generally good) pre-releases of Pray for the Wicked, they’ll be sure to pop up later once the full album has been released. 5 Seconds of Summer’s Youngblood may also get a full review later on.
Come On Over
by Royal Blood from Royal Blood
25 plays (1:11:15), Song of the Week (Week 8)
The third of a quartet of outstanding Royal Blood songs is Come On Over, a song full of tiger-like attack and nasty, distorted guitar. As usual, Mike Kerr and Ben Thatcher don’t hang about in jumping straight into the action. The chorus is characterised by a soaring, angular guitar line that really catches the attention. This combines with an anthemic melody to form one of the most effective choruses of the album. Royal Blood also show they know how to produce a killer middle eight; a brooding quaver snare rhythm builds and builds before culminating in an awesome moment of solo guitar. Kerr waits for the guitar to finish its stunning moment in the limelight before returning with the vocals, adding the cherry on the top of an incredibly well-rounded rock song.
Kids
by MGMT from Oracular Spectacular
15 plays (1:15:30)
Kids is far from a new song, not even to me, but it gained so much new momentum during exam season I just had to include it. Just like Jungle’s Busy Earnin’ and Lemaitre’s Iron Pyrite, Kids is all about one, fabulously crafted riff. Right from the start of the groove we are introduced to it, and it pops up several times throughout the song, not losing any of its initial impact as the minutes clock up. As is often the way with heavily riff-based songs, the vocal melody often isn’t up to much, but this isn’t a particularly huge problem, as it lets the chirpy synth carrying the famous riff to do the talking. The set up is simple – a drum machine, vocals and a bunch of typically glitzy, retro synths. It’s the classic makings of a great MGMT song. Of course, Kids‘ release in 2007 became a huge hit and when the cymbals kick in for the final repeat, there is a distinct air of nostalgia. With it’s undisputed originality, Kids has confirmed itself as an unforgettable classic of the 2000s.
Little Monster
by Royal Blood from Royal Blood
18 plays (1:03:36)
You may be pleased to hear this will likely be the last I have to say about Royal Blood’s debut album, but trust me – this one’s a cracker. It’s bursting with heavy rock angst, the verse featuring a violently stop-start riff. Momentum finally arrives in the chorus with some of blackest lyrics of the album. Perhaps because they’re both being performed by the insanely talented Mike Kerr, the vocals and guitar blend perfectly, particularly in the chorus. What makes Little Monster stand out, however, is a rousing final buildup, emphatically followed by deceptively simplistic ethereal mumblings. But the best is still yet to come – if you listen to just 5 seconds of the whole album, make it the frankly ridiculous solo drum fill that arrives out of nowhere towards the end of Little Monster. Thatcher demonstrates the true extent of his powers in a move that will no doubt have you air-drumming in delight. The fill itself is a fantastic reason to hit play on this expertly delivered banger.
Fuck a Bomb
by Republican Hair (Single)
14 plays (45:44)
Republican Hair’s Fuck a Bomb is just as explosive as it sounds. It makes the most of a fantastic chord sequence, performed with a punchy drum part. Like Bastille’s Wild World, there’s the occasional audio snippet with line’s like “I realise the pursuit of peace is not as dramatic as the pursuit of war.” Things take a turn in the middle eight, with a buzzing guitar solo, before dropping back into the now familiar chorus. It’s dirty, with heavy distortion throughout, but also highly enthusiastic from singer Luke Dick, who is clearly enjoying this track as much as I do.
Roll the Bones
by Shakey Graves from Roll the Bones
4 plays (19:26)
After listening to the remarkable Audiotree live version of Shakey Graves’ Roll the Bones, I just had to give it some more listens. Alejandro Rose-Garcia provides an Americana take on the one-man band, playing guitar, as well as a tambourine and a makeshift kick drum fashioned from a suitcase via two foot pedals; the performance is well worth a watch (link above). He provides dusty, unnerving blues and Americana in this slow burn thriller of a track. Shakey Graves’ voice is exquisitely laden with growl and grit, setting an intensely atmospheric mood. Rose-Garcia has fun playing around with the theme, at one point slowing to crawl before picking up the tempo in a powerful climax. Tambourine even briefly goes double speed, leaving Rose-Garcia almost jogging on the spot to play the pedals with his heels. Without a doubt, Roll the Bones is a piece very different to my norm, and I’ll be sure to check out more Shakey Graves when I have the time.
Sense
by Tom Odell from Long Way Down
4 plays (17:39)
I usually like to keep things relatively upbeat and positive in my music library, but Sense is one of the saddest songs I’ve ever listened to. Poignant in its simplicity – mostly just Odell and his piano – Sense is guaranteed to make an impact. The soft timbre of the piano is perfect for looking out the window on a slightly miserable, rainy day in contemplation. Odell’s vocals are stirring, too. The passion and emotion is clearly evident, and the occasional fragile portamento pulls right on the heartstrings. Inevitably, the music builds to a powerful final chorus backed by more vocalists, before Odell’s voice stunningly withers away on the word “break”. This moment is utterly breath-taking. Sense closes with a return of a beautifully composed piano melody, with Odell, just like me, lost for words.
Breathe Again
by Couros from Jupiter – EP
22 plays (1:32:02)
I made a promise in the last regular episode of Weekly Listening to further review Couros after hearing Undertone, and, admittedly a few weeks late, it’s time to talk about Breathe Again, the standout track from his debut EP. As with Undertone, Couros neatly combines neo-soul vocals with harsh electronica to from a completely fresh sound. The pre-chorus, whilst perhaps repeated one too many times, is highly effective, before dropping into the more bassy, luscious chorus. A hi-hat is a welcome addition to the final chorus, by which time the hook will be well and truly cemented into your memory.
Lose Yourself
by Eminem from Curtain Call
12 plays (1:05:17)
A fitting song to end a marathon of reviews, Lose Yourself is, of course, brilliant. Number 1 in the UK on the day I was born, over 15 years later Lose Yourself has done an invaluable job in helping my get through my first GCSEs. The iconic guitar power chords and tinkling piano interjections have come to epitomise the excitement and anxiety before a big occasion, as has likely been played to open thousands of boxing matches since its conception in 2002. This makes it the perfect song to get myself hyped up before a big exam, with lines like “You only got one shot / Do not miss your chance to blow / This opportunity comes once in a lifetime, yo”, which is admittedly cliché and melodramatic, but incredibly powerful nonetheless. As always with the legendary Eminem, the verses are masterfully written, the first being a vivid description of someone crumbling under the pressure of an audience. Things get personal in the third verse, where intensity rises to boiling point, and the unremitting flow of Eminem becomes more astonishing with every perfectly executed rhyme. Whether you’re taking on the world or just preparing for a tough exam, the unstoppable motivation provided by Lose Yourself will get you through whatever life throws at you.
Undertone 
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