Post Spice Girls, Melanie Chisholm has proven many times over how much talent she brought to the group, especially in those intense vocals. Her latest record dodges more typical “solo album by band member” feelings, and truly feels like Chisholm making a record that’s a statement of her as a new pop mega diva, and you know what, it works. It’s fascinating in the way it blends a few dozen pop superstars’ sounds into a perfect mix that doesn’t slot into any one era but never falls out of step by trying to be too many things. Right off the bat, “Sweat” blends a lot of Tove Lo, Confidence Man, Kylie Minogue and makes a perfect sultry workout banger. While the grooves are infectious enough, there’s something in those warped samples that keeps it funky without feeling too straightforward, keeping you bouncing around until she drops another powerhouse vocal into the mix. Though “Drum Machine” starts with a more straightforward drive, there’s such a soothing ethereal quality to Chisholm’s vocal that it keeps guiding you through the mounting mix until you’re floating in a euphoric high in those late choruses. Though you get a strong bass drive on “What Could Possibly Go Wrong?”, the modern pop-off excess of “Pressure” is such an exhilarating rush, as you dive off handfuls of cliffs with her into the void and emerge like brand new. All the swagger comes flying on “Attitude,” with that saucy synth bass digging strong lines for Chisholm to play with, and her vocals cutting in both timbre and force on these choruses!
Fresh off their debut release, Toronto’s Charm have a fire and glow to their music. The fuzz gives off a lo-fi burning quality across the track, making all the crisper vocals and more subtle harmonies cut through all the brighter. All this said, by the time it gets to the back half of the song, it feels like dozens of small explosions are going off in the mix one after another, as the nostalgia and longing (and feedback and cymbals for that matter) hit a peak. This slow build of raw memories and trying to deal with the pain of never going back gives the song a brutal, bittersweet character that will stay with you like a scar.
With some Kinks DNA, perhaps a touch of Cate Le Bon, and a sharp use of unusual chord voicings and rhythmic punches, this latest album is a simple yet effective indie rock bath in the sun. “That’s Where the Money Goes” opens the album on a bright, yet melancholic push, with the slow infection of effects and harmonies as the chorus kicks in, creating a wondrous dynamic range for the track. The trippy tones take over completely in the psychedelic swirl of “I Came Close, Orange for Luck,” as you’re thrown through the sunny waves of these cascading vocal shots and guitar lines. “Your Eyes” takes a much more kicking pop angle, with a half dozen melodies flying at you, and the drums offering so many fun small moments that it’s fun to relisten just to dig into every small detail baked in there. The more pensive “Unread Books” lets the synths and the album’s more moody tones lead, bringing things down for a heavier look inward.
With a bit of riffing on personal life issues that feel like listing off Jerry Springer-esque guest qualities, Alex Little spins it all into something wholesome on “Sounds Like a Deal.” The way she spins these troubles into qualities to give you character and actually fit in is a clever touch. Though she wastes no time in trying to reveal a more cynical and exploitative edge to this feeling too. The way the rock shifts between a subdued punk and a bit of desert growl evokes The Preatures at times, keeping you on your toes sonically for the next turn in the track. And Little’s ability to tie this all together in a momentous and catchy pop package within all those rotating parts is a testament to her strengths as an artist.
With a sound and political power intense enough to boost interest in Irish language learning, Kneecap have wasted no time using their platform to demand change. As their bilingual approach mounts a fierce attack across this record, their sound has really caught up to their messaging, providing a smooth and immersive experience that takes the heart of their stories into the sonic experience. “Smugglers & Scholars” brings a brooding and dark sound, illuminating sensitive matters to really make you dissect which crimes are worth looking into. One of their most dazzling productions ever drops in the sparkling keys of “Palestine” as they provide a dual-wield of Arabic and Irish vocals that is a treat for the ears, spitting bars that need to be said. One truly has to wonder how a band that has spent its career critiquing colonization, particularly using personal experience to reflect on the ongoing genocide, has been temporarily barred from Canada. But they don’t waste time taking a magnifying glass to those in power overreaching with said privilege on their next track. They tackle this kind of hypocrisy in the grinding highs of “Liars Tale,” with the frightening production matching the malevolent power of the politicians they skewer here. Amidst a true party vibe of a mix that even drips some DFA Records percussion in the mix, the band has some of their most clever writing on “Fenian,” as they walk right down the line of misperceptions about the Northern Irish, the desires of a united Ireland and the more wholesome and hopeful realities that everyone actually wants.
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