No Frills Reviews

The Reytons – What’s Rock And Roll?

You know that whole landfill indie scene post-Arctic Monkeys in the mid to late 00’s? Well, The Reytons are like one of those bands; except it’s 15 years later, they’re about 40 now, and they’re shitter than most of those bands. If you’re a 90’s child like me, then I imagine this is kind of like your dad suddenly forming an Oasis knock-off in 2005 when you were a teenager.

The evolution and growth that you might have expected over that time appears to have passed them by, and they’re still firmly worshipping at the altar of Alex Turner circa 2006. So what lessons have they taken from young Turner? Is it how he injected wit, subtlety, empathy, and kitchen-sink poetry into those songs? Nah, it’s that he had an accent and sang about bouncers.

Now, they do deserve some credit for managing a UK no.1 album and selling out arenas as an independent band, which is no mean feat. But also, they’re absolutely terrible and I respect you less if you like them.

Redeeming Feature: Their Spotify bio says they “channel their working class grit and determination to overcome every obstacle thrown at them” which may be one of the most patronising things I’ve ever read. Ah yeah, this isn’t a redeeming feature; there aren’t any, this really is terrible.

Caroline Polachek – Desire, I Want To Turn Into You

What do you do when your pop tunes just aren’t that catchy? Stick a load of bells and whistles on them so you can label it experimental/avant-garde pop.

This album is just a bit too much. The vocal histrionics are annoying and it’s all so calculated that it largely removes any sense of emotion from the songs. In the moments where the musical experimentation is toned down, it reveals the lyrics to suffer from a similar pretentiousness; abstract bullshit, over-compensating for a lack of having anything meaningful to say. Also, Grimes turns up in the middle; as a society, have we not collectively moved on from Grimes now?

Pop music for people who need you to know how interesting they are.

Redeeming Feature: I Believe

Noel Gallagher’s High Flying Birds – Council Skies

The critical reaction to this was mostly middling, but there’s still a sizeable portion of UK indie fans who eat this shit up. He may have done some great stuff a quarter of a century ago, but that doesn’t mean you need to pretend to like every half-arsed new release he flops out.

Noel always has plenty to say in interviews, but he’s got nothing to say musically; this is full of bland metaphors and the type of semi-motivational bullshit which is like ‘Live, Laugh, Love’ for dudes still rocking Paul Weller haircuts. After some mild experimentation on his last album, he’s reverted back to the dreary stadium rock he’s been peddling for most of the last two decades, presumably because the last one didn’t sell as well.

Music made for the sake of an obligatory album/tour cycle. Just listen to The Masterplan instead.

Redeeming Feature: Dead To The World

BC Camplight – The Last Rotation Of Earth

A favourite of the BBC Radio 6 crowd; I tried to like this, but I just couldn’t muster up any enthusiasm for it. It’s far too self-conscious in its wittiness. Despite it largely being a break-up album, which should be very personal; it feels devoid of any real emotion, far too concerned with squeezing in the next offbeat reference. I feel like I’m supposed to like it on an intellectual level, but it doesn’t create any real connection. It’s the difference between something making you think “that’s funny” and something actually making you laugh.

This is the epitome of a ‘6Music Dad’ album. There’s no way anyone under the age of 30 is listening to this.

Redeeming Feature: Kicking Up A Fuss

Noname – Sundial

There was already backlash against this for the decision to give a feature to the notably anti-Semitic, Jay Electronica…who then did a sorta anti-Semitic verse. But, there’s just enough plausible deniability that I kinda admire her fuck you-ness in not backing down from her decision to include him.

My main criticism is that it’s just incredibly boring musically. It’s a series of musings over soft jazz, with no standout tunes. For all the praise she receives as a lyricist, the most interesting songwriters can also do hits. Not many people are paying attention to Kendrick doing an album like Mr Morale, without a back catalogue featuring the likes of Humble and King Kunta. Noname may be an interesting lyricist, but I’m not convinced she’s a good songwriter.

Plus her whole flow is so self-serious that it feels like a parody of a conscious rapper. Every time I listen, I can’t help but be reminded of Charlie and Dee doing Def poetry.

Redeeming Feature: hold me down