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d r o w n

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sometimes when you’re head is a carnival, you would optimise to be out of it. Maybe it isn’t such a terrible thing after all.

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a t o m

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Lorde//Melodrama Album Review

*Album contains profanity and explicit content* Album available from Apple Music and Spotify

                                                Rating - 4/5 (well worth the wait and definitely something to make room on the shelf or in your storage for)

New Zealand born Lorde is pretty much what us young alternative-music-loving kids, really needed. A fresh voice. A dark voice that is not identical or mimicking of Miley Cyrus, Katy Perry or Rihanna or any of her musical peers. Hers, is a voice that mocks pop culture, talks of bigger topics and has the ability to give music it's life and purity again. She is a born artist, sticking to her own vision, style and opinion. An anti who still manages to visit the pop world, without ever being forced to live there.

Melodrama - her sophomore album - contains a new era for her. After cutting off her mane, ditching the (scary) black lipstick, winning two Grammy's (at eighteen! Making all of my life achievements thus far seem inferior) and having her first real heartbreak, Lorde re-emerged as a smarter and more elegant twenty year old.

The album runs at eleven tracks and about forty minutes. Lorde claimed it was a concept album and the whole thing takes place in a single party - which personally, I think is pretty cool.

Green Light obviously caught my attention the most. With the stuttering piano, moody lyrics, intricate melody and shrieking chorus - it manages to ride all of the emotions a song should convey. It sounds like an entire album - in under five minutes.

As for the rest of the album, it consists of reprises and two songs hidden under one song and other various sleek production ideas that remind you of those dry clicks in Royals that were simple but so effective, really it causes you to stop and think; how did a twenty year old come up with this?!

With comparison to Pure Heroine - this album shows more care and maturity. It is far from the aloof, jaded and snarky cool of sixteen year old Lorde whose low register and long hair helped her to disguise her emotions and shrug off excitement, thereby making the whole album sound apathetic. However, with Melodrama there is so much emotion that it's hard to escape it. It leaks from every smart and intricate lyric, even from Green Light with her yelling "I want it", already displays so much more vulnerability than with the eye roll of Pure Heroine.

The whole album comes off as a tracking shot through the swinging doors of a house party, as we peer into different rooms; the drive over (Green Light), the buzzing living room (Perfect Places) and the girl crying in the bathroom (Liability). Or, it is a swirling nightclub carnival, a screaming parade, amidst crowds of people, neon lights and set on the most unpredictable dancefloor ever.

Once again, Lorde manages to create a pop masterpiece, but with her authenticity as she limits her co-writers to only Jack Antonoff who also took control of the production of the album. Her exploding charisma is also evident, along with sharp lyrics that make your head snap up and melodies that remind you of Robyn and Lana Del Rey -  catchy songs that you can play from the car, but still cry along with too. Her daringness and the challenges she takes on are almost unnecessary, as surely, she could have released a pop album and the whole world still would have loved it just as much. Instead, she takes a four year break, records in Jungle City and creates an even more confusing, wild and dizzying body of work than last time. Honestly? It's refreshing as hell.

It is filled with edginess, confidence, the almost too intimate whispering and whimpering and the devastating emotion that is wrapped up into an impossibly cohesive soundtrack that outstretches it's hand and takes you along on the journey of the album. Ultimately, Lorde has stamped her own style all over her work and it's hard not to like it - or at least not notice it and be very, very, intrigued. Melodrama is not the cool or popular choice; but it is most definitely a party. An anti-party.

Favourite Songs: Sober, Writer in the Dark, Perfect Places, Hard Feelings

*I got tired of make-up blogs so decided to create a more alternative one! For YA book reviews, album reviews such as Halsey and Paramore and alternative fashion, hit me up on www.withmiran.blogspot.co.uk

x

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y o u

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Guys! I made merchandise! It’s a t-shirt for my quote ‘four ways to survive’, I know this one is a little pink and gender-biased but of course I can alter it for you. Message me lovelies if you’re interested 🌸

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2am

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I made t-shirts! They have my “four ways to survive” quote on the back! I’m so proud of them, please message me if you’re interested and join The Paper Club 🌸

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Halsey//Hopeless Fountain Kingdom - Album Review

*Album contains profanity and explicit content*

Album can be found on Spotify and Apple 

Find more on my alternative lifestyle blog: www.withmiran.blogspot.co.uk

Rating 3.5/5

(you will definitely blast it from the car or at a party - but it’s not exactly timeless)

Hopeless Fountain Kingdom is such a beautifully opulent and rich name for an album, and honestly it doesn’t disappoint. From the concept to the artwork to the illustrious song titles, this feels more like a book rather than a sophomore album. It is extremely more confident, refined and mature than Badlands - as it focuses on literature, and in particular mirrors William Shakespeare - but with contemporary influences.

The album will most likely be a success as Halsey is somewhat of a popular introvert - as nobody knows anything about her, however she has been leaking out of our radios for the last year and dominating the award show scene. This is due to her decision to stray away from perfectly constructed pop songs that only focus on the positivity of life - as she takes a risk and pens more sinister lyrics, which are greatly appreciated by her most dedicated fans as they show their appreciation through Tumblr edits and tattoos.

The album contains thirteen songs and runs at about thirty five minutes  - unusually short for thirteen songs - even if one is a prologue.

The genre definitely leans more towards R&B as opposed to the alternative style of Badlands. Though Badlands focused more on a metaphorical mental state, it did contain songs about love and lost relationships. For example, Colours was a pop song, but arguably, it was an extremely well written pop song as it lingered on dark elements and contained storytelling and message that lasted longer than three minutes on the radio whilst you’re driving the car.

With Hopeless Fountain Kingdom, though there is the same underlying moodiness, sultry edge and cinematic elements - the songwriting overall is weak, lacks depth and description and the bridges in particular are nothing short of rushed, or really non existent. Badlands was an important moment in time for Hasley, and I feel as if this is really a step back into conformity.

You will most likely unearth some songs on the album that are going to gain massive radio play this year -  especially as Halsey expands on her co-writers, producers such as Benny Blanco, Ricky Reed, Greg Kerstin and collaborations including Quavo and Lauren Jauregui - better known from Fifth Harmony. This is probably also due to the influences you hear on the album, including The Weeknd, Rihanna, Sia and Alanis Morsette, and remnants of The Japanese House on “Hopeless”,  - and it’s greater commercial sound.

Personally, I think though the artwork, music videos and the story behind albums are important, especially if the album is a concept album, it really shouldn’t distract or add anything to the art. For example, though the Romeo and Juliet inspiration is beautiful; the thirteen songs do not reflect the effortless storytelling, nor do they stand up well alone.

Halsey is hardly the songwriter or the vocalist of our time, however her enthusiasm cannot be questioned.  Her confessional lyrics and witty wordplay is satisfying, as it produces so much majesty. This is someone who is still excited by music and releasing an album to her is still very theatrical and important - whilst also being strategic.

I fully commend her for her creativity, thinking outside of musical barriers of what an album should or shouldn’t be, however the art itself is subpar. Sorry, but in this case less is not more.

Favourite Songs: Sorry, Angel On Fire, Heaven in Hiding

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Bleachers//Gone Now - Album Review

*album contains profanity and explicit content* Album available on Apple music, Spotify and YouTube.

Find more on my alternative lifestyle blog: www.withmiran.blogspot.co.uk

Rating: 4.5/5 (something to write home about)

So, we’ve heard of Jack Antonoff right? The New Jersey born genius behind musical projects such as Steel Train, Fun. Bleachers, and collaborations with Sara Bareilles, Taylor Swift, Charli XCX, and now Lorde. Fresh from winning three Grammy awards for his song writing and production and being linked with Lena Dunham (from the US show Girls), Jack is back with the second album from his solo project; indie pop band - Bleachers.

The name is nostalgic and also reminiscent of American culture and linked to things like high school and football (rugby) matches, however the themes are always very universal and relatable. Every song could be pinned behind a scene from a John Hughes film. Themes such as anxiety, depression, bereavement, social issues and of course love and heartbreak. The previous album Strange Desire focused on Jack’s personal issues from the death of his sister, with the battle of his mental health issues such as depression and panic attacks, and produced what is arguably one of his best written and most popular song; I Wanna Get Better. If you haven’t heard it please do, with lyrics such as “While my friends were getting high and chasing girls down parkway lines” and “I didn’t know I was broken until I wanted to change” - it’s hard not to feel a part of you agree with his layered vocal.

However, let’s get on with the new album shall we? Gone Now, runs at about forty minutes and has 12 tracks - all of which were written by Jack with little or no help. The album cover is hauntingly beautiful and the name of the album was drawn from Jack’s own theory of dying and what life would be like without him and what he would look like if he was “gone now”.

Pretty deep, huh?

At  first listen I loved the album. That’s hard for me, as new music is usually generic, repetitive or just unimaginative. Not this; it has uniqueness stamped all through it. I mean, it was definitely a lot more refined and better written and executed than it’s freshman release. It still has tones of Jack’s layered vocal and hints of synth pop and electronic influences and dark lyrics, running alongside melodic beats - but it’s more than that. It feels bigger than that. It feels more cohesive and feels more like a body of work, rather than the scattered song selection on the first album.

The song that really hit me hard and tore me up was Everybody Lost Somebody. I mean; wow. Just, freakin’ wow. It was released as the third single from the album prior to the album release and it’s still my favourite, even now. I remember listening to it through earphones on Spotify when I was in bed and had a free five minutes after a busy day. It was like an awakening or some kind of borderline spiritual experience - I kid you not. The drums, the lyrics, the saxophone, the talking at the start, the melody combined was so powerful and emotional. It reminded me of the finale song on the set list for a tour or a festival when the confetti dances over the crowd and the sun sets into a burning orange. It’s honestly so raw, real, and beautiful. The message is always nostalgic and honest and I think that helps Bleachers music so much, as opposed to the bands content being focused on themes such as money or love or parties in clubs.

The album itself takes time and effort to listen to. You have to truly unpack it, and not just take the anthemic sound and expect to understand what is going on. It’s truly power pop but with a grassroots feel behind it, as it’s easy to forget it was made in studios and for a huge label - but feels as though it was written in a bedroom in New Jersey- whilst looking out of the window and dreaming.

Regardless of who Jack collaborates with next or if Fun. decided to reunite or if he goes on another three year hiatus - we all know that Jack will always save his best work for Bleachers.

Favourite songs: Everybody Lost Somebody, Don’t Take The Money, Dream of Mickey Mantle, Good Morning

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Paramore//After Laughter Album Review

Find me on www.withmiran.blogspot.co.uk or under Mirann on BlogLovin for more book/album/film reviews. I got tired of make-up blogs ruling the internet so I decided to make my own, centred around an alternative lifestyle. Happy Reading. x

Rating: 3.5/5

Favourite Songs: Idle Worship, Tell Me How and Rose Coloured Boy.

Okay, so when Paramore surprised everyone a few months ago with the lead single Hard Times, the comeback of Zac Farro, a new album, and Hayley’s blonde hair - it was too much for my inner twelve year old to even cope with. Seriously. So, after I recovered from that colossal news and the high dizzying bout of nostalgia, I decided to listen to the music. Now, Paramore have recovered from two line-up changes in the band and a three year break, so whatever this new album was, it was going to be emotional. I was expecting that; but that wasn’t what it sounded like. It was fun, light, bouncy and freeing, with Hayley’s vocals as jarring and familiar as my secondary school days where I would attempt to copy her high knees in the Decode music video. Firstly, I rolled my eyes thinking, “oh, here we go, with a mainstream, sugar pop, sell out, comeback album”. It was just the basic blandness in the lyrics and there wasn’t a lot of depth to them. I found the album cover itself confusing at first and a little busy and distracting, and the name, though it was punchy, lacked thought and any real background or connection to the band itself.

However, then I started doing some digging. I watched the Zane Lowe Beats interview, where Hayley, Zac and Taylor did a track by track review. Also, I watched some live videos on YouTube and honestly watch the I-tunes festival and BBC One’s Big Weekend show. The band is obviously overcompensating for the loss of the members, but you can’t deny the ferocity in the performance and the sheer willingness to do well.

Also, after a quick Wikipedia search I discovered that only the three of them wrote all the songs on the album (apart from No Friends). Do you know how rare it is to find bands or artists that write their own music??

After the anger and ruthless and sharp sound of self titled, After Laughter was remarkably refreshing. Sure, there are some pop bangers but underneath that you can still hear the realness of Hayley’s voice, the drive behind Zac’s drums and the power and intricacy of Taylor’s production. Honestly, this is probably the only album that infused all three members fully, and you can really, really, hear it. It is just the three of them, doing what they do best together.

The album itself has remnants of Bleachers music, with the pop sounding music, especially 80’s throwbacks, and layered vocals with a juxtaposition of darker lyrics running alongside them. They’re honest. Yeah, they made me dance in my bedroom, in the kitchen when I cook and in the car. But, it does also make me think. Really, it’s not angry or harsh or fake. I think self titled was too fake happy and too pretend, I think it was an upfront. This album brings us back to the root of Paramore, a unique sound and a cracking live performance.

The more I listen; the more I find to like. It’s hard to find an artist on their 5th album who still enjoy what they’re doing, and Paramore so clearly do.