Rex Orange County’s “Never Enough” is a flawless masterpiece

[Weekly Listening, Week 9]

Another exciting Friday has delivered two more hotly anticipated albums. I’d been waiting for Panic! At the Disco’s Pray for the Wicked since March, and whilst there are a few enjoyable tracks like (Fuck a) Silver Lining and Say Amen (Saturday Night), it’s not been well received at all by critics. I still need time to give it further listening before making my review. Weathers also released their debut album Kids in the Night, which is less exciting than it sounds when you realise it’s only three new songs, with the rest being from the previous two EPs of the same name. These new songs sound good, but whether they will take off in a similar style to songs like I’m Not Ok and Shallow Water is unknown.

There’s been some crackers discovered this week, and I’ve got plenty to talk about, even in the aftermath of Royal Blood-mania.

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Uno

by Rex Orange County (Single) (2017)

13 plays (37:13), Song of the Week

The follow-up of his highly-acclaimed debut album Bcos U Will Never B Free, Uno is a single that established Alex O’Connor (also known by his stage name Rex Orange County) as a unique performer. The premise seems to be a chat between Rex and his therapist, who makes occasional interjections towards the end. This results in an intensely personal set of lyrics – “I’m tryin’ to be a man but really I’m just a little child” – Rex isn’t holding back. The groove is tight, and lyrics delivered with an effortlessness that’s become synonymous with Rex. Uno also shows Rex willing to break the “rules” of modern music, boycotting the verse-chorus approach, and rather going for his own style. There are clear jazz influences throughout, from the occasional horn stab to the almost ever-present electric piano. The song closes with a quick fire, stream-of-consciousness round of personal thoughts with lines like “I wonder what it was like to be eleven” and “being at school makes me aware of how I haven’t been myself in while”. It’s a blur of thoughts to take in, and Rex deliberately doesn’t linger on them, forcing them to wash over you and nag you for the rest of the day. Uno is a definitive “short but sweet” jam, and an extremely original early song from an inspiring new talent.

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Never Enough

by Rex Orange County from Apricot Princess (2017)

12 plays (59:42)

I tend to use a fair amount of complimentary adjectives on my blog – any given song is often described as “remarkable” or “exceptional”. However, if any song truly deserves such acclaim, it must surely be Never Enough. Upon first listening just a few days ago, this song quickly became the most exciting discovery since starting the blog, with the sort of chorus that creates butterflies in the stomach. It’s a five-minute masterpiece of songwriting, with enough musical content to base your thesis on. Far from the understated rap-jazz of Uno, Never Enough sees Rex venturing firmly into rock territory, with an array of buzzing guitars, synths and even a drum machine to open. As usual, Rex throws in a little bit of everything – a smooth synth section, a drop back into rock and then a sudden heavy thrash before leading into an exquisite chorus. Two choruses in and we’re treated to an awesome guitar solo, and the groove reaches its most rampant. But Rex isn’t done there. The masterstroke comes in the following finale, a rousing build-up, packed with emotion, racing drums and effervescent, anthemic vocals. You’ll be out of breath by the time the final chord comes, and wondering where that five minutes just went. If you listen to just one song from Undertone, make it Never Enough.

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Weather

by Daktyl ft. MOONZz (Single) (2018)

10 plays (33:24)

One of the things I love about electronic music is the ultimate freedom it gives producers to express themselves – anything can become an instrument, from a newly created synth to just a snippet of vocals re-pitched. Indeed, Daktyl plays around with MOONZz’s voice to great effect in this track. Don’t be fooled by the first drop however, which sounds earlier than it actually is, ruining some of its impact. That said, when it does come, it’s awesome, with a single snare upbeat dropping into the chorus like a bomb. A restless bassline and an erratic melody makes for a kaleidoscopic chorus, which gets better with every listen. It’s easy to tell Dakyl has worked hard on adding plenty of finishing touches and musical flourishes into Weather, and that work is paying its rewards.

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Satellites

by The Barratts (Single) (2018)

8 plays (32:22)

In comparison to the last three songs, Northampton-based The Barratts opt for a more tried-and-tested indie rock formula in Satellites. It’s easy to get yourself familiar with Satellites, with an unambitious but effective chorus melody and a classic arsenal of background guitar riffs. Things get interesting in a huge drop-down before the end of the final chorus, which smartly builds back up to let frontman Fred Perry finish the chorus. It’s an assured, comfortable performance from a band that clearly knows how to write a memorable rock song.

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Ponytail

by Wild Beasts from Boy King (2016)

8 plays (29:06)

An emerging theme in this week’s particularly good list of songs is originality, and Cumbrian art rockers can deliver that in spades. They’re known for their lustful and modern R&B and funk, and Ponytail is certainly no exception. I have no idea how they produced the sample that opens the song, but it’s unlike anything you’ve ever heard before and I love it. A killer bass then comes in hard, and we soon find that Ponytail has bags of attitude. It’s a classic example of a song that doesn’t require much of a vocal hook – the niggling sample and bassline are earworms enough in themselves. Despite this, a stronger chorus would admittedly be welcome. This is especially needed after a well-crafted middle eight featuring binaural vocals (get your headphones on), where Wild Beasts seem to abandon the previous bassline and things start to get a little muddy. It’s a great song to ignite a serious, study-time mood to, however, and it’s definitely one that’s sticking around in my music library.

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Stand on the Word

by The Joubert Singers (Single) (1982)

7 plays (33:24)

As songs go, Stand on the Word has a fascinating history. The original version (and the one I’ve been listening to) was taken from a privately pressed 1982 gospel compilation, that was the entirety of The Joubert Singers’ produced work until relatively recently. It enjoyed brief success thanks to New York DJs such as Tony Humphries and Walter Gibbons before fading into obscurity. Decades later it was rediscovered by cratediggers before falsely being credited as a remix by disco legend Larry Levan. Stand on the Word subsequently shot to success, featuring on TV and film soundtracks, as well as inspiring the sound of Justice’s classic D.A.N.C.E and becoming a hit in France after a remix from Keedz. (reviewed in Week 2). Its success lead to a total of ten different versions of the song being created over the years, with plenty of remixes, an instrumental, an extended version and a re-recorded 2016 version. Whilst listening, it doesn’t take long to realise why Stand on the Word became so popular. A superbly-written piano part opens the song which is a joy to listen to. It’s a slow-burner, with increasingly intense long vocal notes before we are finally greeted with the first of many catchy melodic riffs and that funky, funky bass. Despite being energetic and ultimately uplifting, The Joubert Singers don’t settle for entirely typical gospel – there’s a touch of congas and of course that dirty slap bass. After a while it feels like the song might get repetitive, but rest-assured, the Singers return for a joyous final chorus courtesy of a glitzy piano glissando that will have you clapping and praising the lord in glee.

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Apricot Princess

by Rex Orange County from Apricot Princess (2017)

7 plays (27:49)

Opening the album of the same name, Apricot Princess is somehow even more ambitious than the previously mentioned Never Enough. Rex once again demonstrates his aptitude in a staggering number of genres with a grand orchestral, film music-style opening followed by a foot-tapping Latin groove. The strings arrangement at the start is refreshingly beautiful for a songwriter more familiar with drums and keyboard, and it leads on to some touching vocal lines. But, seemingly fed up of the slightly soppy intro, Rex drops into a Latin-pop beat driven by a jazzy piano, shakers and a percussive bass. The subsequent breakdown is almost impossible not to dance to, and has some background “da da das” that will give strong hints of Stevie Wonder’s Another Star. Rex soon kicks back in with his piano, and the shuffle really gets going. It seems to end too soon, but the genre-hopping Apricot Princess is a true delight.

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Happy Unhappy

by The Beths from Future Me Hates Me (2018)

6 plays (20:54)

I have the excellent blog kid with a vinyl to thank for pointing out the catchy indie rock to be found in Happy Unhappy. As is mentioned on the blog (which is well worth a read), Happy Unhappy is an unnerving mix of sunny music set to decidedly reflective and miserable lyrics, particularly in the infectious chorus. The lyrics are very well written, contrasting a light-hearted verse with an intensely personal chorus: “Wish my heart were really made of stone / And I could forget you / Like I really want to”. A piercingly high distorted guitar note is cut off unexpectedly short at the end, emphasising there may be further heartbreak and despair hidden under the facade of bright guitar chords and cheery choral harmonies.

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Returning from Last Week

• Youngblood (11) by 5 Seconds of Summer – the exciting title track from the Australian pop-rockers.
• Come On Over and Loose Change (both 6) by Royal Blood
• Little Monster (5) by Royal Blood – it’s all about that drum solo
• I Will Follow You (5) by RIVVRS – not mentioned last week, but despite the slightly ominous title, I Will Follow You is a heart-warming almost sickly sweet singalong