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– Blur – Live from Wembley Stadium
“Wow” is the first word you hear Damon Albarn say as he takes the stage for the biggest show of Blur’s career.
A year after their two massive Wembley Stadium shows, a double live album commemorates the Britpop survivors' crowning moment.
Relive the brave decision to open with new song St Charles Square, before early pop hit There's No Other Way.
A punk version of fan-favorite song Popscene precedes Albarn saying “we've been waiting for this moment all our lives; it's lovely to share it with you.”
The introspective Beetlebum transforms into a stadium-sized anthem, while the second half of the album brings a series of their biggest hits.
A loud “oi” heralds the arrival of Parklife, which that evening saw guest star Phil Daniels emerge from a hut.
The “all the people, so many people” was then sung over and over again in the long subway queues and then on the crowded trains.
A fast and furious thrash throughout track 2, dominated by Graham Coxon's distorted guitar, triggers another massive sing-along, much like the 1994 smash Girls And Boys.
The London Community Gospel Choir joins the quartet for an epic Tender, before closing track The Universal, with its refrain “it really, really, really could happen.”
Well, it really did happen, and this album will remember a memorable night for those who were there, and make those who weren't wish they had been.
Score: 8/10
(Review by Matthew George)
– Porter Robinson – Smile
Porter Robinson's third studio album, Smile!:D, is a lively electronic mix that kicks off strong with the single Knock Yourself Out XD, a wry song about the curse of public celebrity adoration.
The song is a fun single, adding sparkle to the 10-track mix with carefree, silly lyrics over some hazy electropop sensibilities.
Cheerleader explores the parasocial relationships between fans and artists, laying the groundwork for the album to address the struggles of Porter Robinson's rising popularity and career.
The synth-pop blend takes a more open, honest and vulnerable direction on Russian Roulette, with a classical motif showcasing Robninson's smooth vocals while keeping them lively and easy to listen to.
Robinson comes across as more of a tortured artist on this release, using bright, poppy backing on most tracks to maintain an elevated mood and create a sense of detachment.
Kitsune Maison Freestyle is a simple track, full of charm and Porter Robinson's signature sound, with a sweet and cheerful chorus that keeps it captivating.
Overall, the album is catchy, easy to listen to, and upbeat enough to dance to despite the downbeat themes it explores. Robinson's new record is a must-listen to: it's packed with singles that are short and sweet.
Score: 7/10
(Review by Carla Feric)
– Cults – To the ghosts
Cults, the indie duo known for their lo-fi songs featuring the delicate vocals of singer Madeline Follin, stay true to their synth-pop roots with their fifth album To The Ghosts.
Follin and Brian Oblivion, real name Ryan Mattos, have been crafting their unique sound over the past decade, but their penchant for producing dreamy, reverb-heavy songs has sometimes hindered their progression as a band.
On their latest work, the duo focuses on texture, combining Follin's voice with synthesizers, strings, backing vocals, keyboards and, on the song Open Water, the sound of a brass instrument.
Follin has said that the music on this album feels “more romantic,” adding that “the vocals and lyrics really helped determine the direction rather than the other way around. Each song reminds me of what I was going through at the time.”
The pair have certainly pushed their creative boundaries while persisting with their brand of 60s and 70s psychedelic rock, notable with tracks like Eat It Cold and Honey.
Score: 7/10
(Review by Hannah Roberts)
