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[realcrocodiletears]

new music debrief - Eternal Sunshine by Ariana Grande

I have a soft spot, a guilty pleasure even for Ariana Grande. In the gym, in the car, in the gutters, she has her special space in my mix. Eager for something new, I was nervously awaiting the release of Eternal Sunshine, fearful after a somewhat lacklustre single in yes, and? After a 4-year hiatus, Ariana Grande's Eternal Sunshine is eager to rediscover a worn journal filled with dear emotions and heartfelt confessions. The album unfolds as a deeply personal narrative, inviting listeners into the inner thoughts and turmoils of Ariana. In the opening track, gentle vulnerability sweeps through, manifesting in the soul-searching question, "How can I tell if I'm in the right relationship?" It's an inquiry that sets the stage for an exploration of love's complexities, inviting us to join Ariana in a shared space.

As the album's themes weave seamlessly between love, loss, and self-rediscovery, it feels less like a distant performance, and more like an intimate conversation with a friend or loved one. Grande doesn't shy away from baring her emotional landscape, and as a listener, you become a companion to her journey. Each track unfolds like a page in a personal diary, revealing the raw intricacies of post-divorce reflections.

The sounds painted by Grande this time around take a different route from her previous endeavours while drawing inspiration from each. The R&B beats of positions, the vocal layers from thank u, next, and the sound profile from sweetener. The melodies, a harmonious blend of R&B and indie-pop, serve as a beautiful canvas that sets the tone for the emotions Ariana looks to portray. Tracks like Imperfect for You and We Can't Be Friends felt genre-crossing to me, experimenting with unfamiliar sounds that surprisingly suited Ariana's universal vocals perfectly. The album is not merely a collection of generic songs but a mural that captures resilience and growth with a mosaic of different genres and styles. The production direction allows for Eternal Sunshine to be an easy listen for new and old fans alike. Each listen, I found myself finding something new, whether it be her adlibs hidden amongst her vocal stacks or a chime or sample lost in the mix.

Tracks like Bye and The Boy is Mine pull the listener into a mix of emotions, torn between letting go and embracing the uncertainty of new beginnings. Grande's masterful storytelling unfolds like a novel, where each chapter reveals a deeper layer of her experiences. The title track, being a favourite of mine, reveals the heartbreak that may have led to her divorce, alluding to affair scandals from both parties. The contradiction between vulnerability and defiance becomes a recurring theme, as tracks like Don't Wanna Break Up Again and True Story confront the expectations of her relationship with sincerity and maturity.

Throughout the record, especially in the title track, Eternal Sunshine, Ariana's voice finds a way to complement each song perfectly. She has a way of conveying such dynamic emotion, applying different techniques and ranges to navigate the complexities of each track from verse to chorus. It acts as a melodic companion through different sentiments, and with each note, we're drawn deeper into the context of her songwriting.

This album transcends the boundaries of a traditional Ariana Grande chart-topping record; it's a shared journey, a heartfelt conversation, and a testament to Grande's artistic growth. As the final notes of Ordinary Things faded, I was left speechless by the direction she had taken on this record. Creating something human, Ariana Grande boasts debatably her greatest album to date; a record that appeals to all listeners while evoking deeply personal and resonating themes that will cultivate any fan, new or old.

8/10 ariana grande is 30 years old apparently.

~ will

[realcrocodiletears]

music i love - Being Funny in a Foreign Language (2022)

I believe The 1975 has consistently delivered stellar records throughout their career, and Being Funny in a Foreign Language is certainly no exception. While it may embrace certain clichés, predictability, and silly moments, The 1975 have concocted an album that exudes pure joy and love, making it an "almost-no-skip" delight. Drawing inspiration from the album's predecessor and seamlessly blending complementary elements, the band has fashioned an album that caters to devoted longtime fans and newcomers alike. As they continue to push the boundaries of the alternative genre, The 1975 has once again managed to captivate and enthrall listeners with a sound that continuously finds innovative and intriguing avenues to explore.

The 1975 has built a reputation for crafting lengthy albums, often featuring tracks that don't necessarily enhance the overall experience. However, with Being Funny in a Foreign Language, they have opted for a departure from this tendency, prioritizing quality over quantity while maintaining a consistent sonic journey. Following the lukewarm reception of their previous record, NOACF, the band took a step back to refocus their creative energies. The result is arguably their finest work to date.

One of the album's standout qualities is its duality. It effortlessly shifts between uplifting, melancholic, mellow, and experimental moods. Tracks like Looking for Somebody (To Love) and I'm in Love with You infuse a sense of vitality, while songs such as Human Too and When We Are Together offer heartfelt compositions that add a layer to the band's artistry. About You deserves a special mention; it's an emotionally charged exploration of falling in love, with Matty Healy diving into the vivid sensations and thoughts that accompany this unique experience. The haunting line, "Do you think I have forgotten About you?" lingers, evoking a sense of nostalgia and optimism that can be interpreted in many ways. This track, in particular, has the power to conjure butterflies and provide comfort to the listener, making it a beautiful ballad in the name of love.

Contrary to their evolving sound with each release, The 1975 on Being Funny in a Foreign Language don't venture into entirely new territory. Instead, they revisit and refine concepts from their previous albums and tracks. While some may view it as a recycling of material, it is rather a mastery of their established sound. Elements reminiscent of I love it when you sleep… can be heard in Looking for Somebody (To Love), while About You echoes their self-titled record. Oh Caroline draws from A Brief Inquiry into Online Relationships, and Happiness reflects the sound of Notes on a Conditional Form. This love letter to their discography allows for a cohesive yet diverse tracklist that manages to encapsulate the essence of a 1975 song while granting each track its own unique identity.

On Being Funny in a Foreign Language, The 1975 have defeated their own demons, creating a piece that encapsulates a superlative tone, skillful songwriting, and meticulous composition. This album undoubtedly represents the band's journey to date, leveraging an assortment of prior ideas and innovations, and refining them into a record that bridges their past and future endeavors.

8.5/10

~ will

[realcrocodiletears]

new music debrief - Bewitched by Laufey

When you hear anyone talk about Jazz, it isn’t always met with much excitement. From my social experiences and interactions, liking jazz is structured like a joke or an insult. Bewitched by Laufey serves as a resurgence to the waning popularity of Jazz as a genre, and invites new listeners to a fresh yet faithful interpretation. Executed with precision, thought, and love, Bewitched is a masterpiece in its category that embraces the humility and simplicity of the genre as a form of expression. Laufey pieces together elements of classic jazz and contemporary themes seamlessly.

Laufey, pronounced lay-vay, has taken over as the new poster girl of Jazz. Her previous installment, Everything I Know About Love, was one of my favourite releases of 2022, which led to my expectations and excitement for Bewitched being higher than any other projects this summer. Everything I Know About Love felt presented as if it were a fairytale, illustrating her hopes, fears, and ideas of love. Bewitched is bolder than its predecessor, speaking volumes with its unconditional love stories and the soothing, roaring, complex contemporary compositions that aid the overall atmosphere.

Opening the album, Dreamer is a bouncy track that reinforces the hopeless romantic theme of the album. The line "No boy's gonna kill the dreamer in me" dismisses casual dating in the face of modern standards. Moving into Second Best, Haunted, and Must Be Love, Laufey rides the melancholic, harmonic, ghostly rhythms supported by her powerful orchestral composition. Her vocals display her ability to span octaves and fluctuate to the tone of the song. Spilling traditional elements of the genre over piano and guitar compositions introduces us to the timeless sound Laufey has crafted.

Bewitched maintains an impressive level of consistency throughout its entirety, even during its more experimental moments. The album boldly explores pop terrain, as evident in tracks like Lovesick, where Laufey channels an aura reminiscent of artists like Soccer Mommy or Julien Baker. In this high-energy track, she delivers an explosive chorus that offers a rare and intense emotional release, departing from her usual delicate approach. The seamless interplay between silky, ascending strings and rolling percussion mirrors the complex mix of emotions, evoking feelings of both excitement and anxiety.

The inclusion of the classic jazz gem Misty on the record is a testament to Laufey's deep connection with the genre. Her rendition of this piece blends her universal vocal tone with a straightforward, organic production that stays true to the song's roots.

Laufey not only revitalizes the jazz genre but also showcases her versatility as an artist. Her remarkable ability to seamlessly merge classic and contemporary elements, coupled with her poignant storytelling, positions this album as a must-listen. Laufey undeniably weaves a spell with her music, captivating her audience and rekindling the timeless allure of jazz in the modern era.

10/10 a literal genre-redefining masterpiece

~ will

[realcrocodiletears]

new music debrief - GUTS by olivia rodrigo

At this point in her career, Olivia finds herself at a crossroads with her identity in the media. Is Olivia Rodrigo a public figure, or a musician? With the singles Olivia, now 20, put out this time around it's easy to believe this narrative of her being just another industry plant, just another brand, just another Taylor Swift. On the surface, GUTS not only meets the expectations set by her blockbuster debut. It shatters them. Going deeper than that, GUTS is a mosaic of storytelling, experiments, and growth. Listening to this album it is apparent that Olivia has not only grown as an artist, but as a person.

GUTS expands on Olivia's breakup formula, it redirects her image and proves to all of us that there is more to her and her writing than just a sappy heartbreak record. Vampire and bad idea right bring us to believe leading up to the record, that it will mimic SOUR, capitalizing on a formula that worked perfectly in the past. The singles are thankfully some of the weakest tracks on this album, contributing very little to the overall message of GUTS. GUTS is about growing as a person, navigating one's identity, and taking the hurt as an opportunity to make oneself better. Sonically, GUTS takes the soft melodies of SOUR and opens 3 more doors; the grungier, the brighter, the sincerer. This time around GUTS offers variety in places SOUR lacked, experimenting a lot with different sounds stretching to different genres. Pretty isn't Pretty could easily be mistaken for a 2010s indie-pop anthem, all-american bitch is reflective of early 2000's pop-punk, and love is embarrassing being a chart-topping candidate.

Olivia's songwriting capability and potential blows me away. Coming from SOUR, she did a very good job at being descriptive, painting accurate pictures for the listener to follow along with. Not only does she do this part of her songwriting better, but she also does even more. Olivia does a very good job of giving us a metaphorical approach. On logical, Olivia describes the delusions that love puts us through. On this track, she says "you got me thinkin' two plus two equals five" and "The sky is green the grass is red". I absolutely adore this approach to the concept on this track. It puts her feelings into perspective in a way that isn't direct which a lot of artists overlook. In the 4th track, lacy, Olivia uses descriptive imagery through lines such as "skin like puff pastry" or "eyes white as daisies". It tells us, the listener, how perfect Lacy may be, and in doing so it also tells us Olivia's struggle with such a comparison.

The subject matter on GUTS as mentioned goes past SOUR's teenage heartthrob and dives into more mature topics as Olivia navigates adulthood. And for the fans growing alongside Olivia, these are topics that may resonate perfectly with them. Olivia gets personal on making the bed and shares the pressures of fame and perception even from those close to her. The grudge brings us back to a familiar place, being Olivia's messy relationship history. This time, though, Olivia approaches it personally and depicts the feeling of being lost with no direction rather than just hurt and angry. Not to mention the bridge on this song is the best of the whole record, easily the highlight of the album.

GUTS is by no means a perfect record, nor is it consistent. GUTS struggles to stay on theme with some sillier concepts scattered throughout the record that contribute very little to the message Olivia wants to convey. get him back! serves as a poorly executed anthem that leaves a sour taste (no pun intended) in the listener's mouth. The verse is a big no-no for me, but overall it strays away from the production, writing, and sincerity of the record. Similarly, ballad of a homeschooled girl follows in comparable footsteps, opting for the juvenile subject matter of social suicide and cute boys. I feel as though Olivia puts her best foot forward when not trying to please anyone. Writing fun tracks is amazing, but it's not surprising that her slower songs are typically her best. I would like to see Olivia take these negative topics however during her lower moments, and translate them to her more upbeat tracks.

Olivia's sophomore album serves as a sign of growth for her as an artist. It's apparent in her writing that she is in this business out of love for what she creates and that is evident throughout this whole record. However, Olivia is still in search of herself, and her sound. Spanning genres and experimenting on more than one occasion on this record, it'd be nice to see consistency on her next project. Overall, I'm so impressed with the highs on this record and it is a testament to where she can take her music next. I'm not sure if I can pick between GUTS and SOUR just yet, but with all the expectations in place going into the album, it's safe to say Olivia has exceeded them.

7/10

~ will

[realcrocodiletears]

music i love - five seconds flat (2022)

This album just does something to me that I can’t describe. The way I have developed an emotional, personal attachment to this record is something uncanny for myself. Being familiar with Lizzy McAlpine from her rise to fame on TikTok, and her song “Apple Pie” graciously shown to me by my girlfriend, five seconds flat was a new, breath-taking experience. It builds upon her prodigal composition skills and superb songwriting, while also expanding on her mellow, acoustic, melancholic sound. One we were previously familiar with on her debut record. There is something about five seconds flat that allows it to be melodic and soothing at times, or angry and grungy, or cheery and buoyant. The record is as versatile as it is consistent; Lizzy shows she isn’t afraid of taking risks or going outside of her bubble.

There is a story being told as the track list progresses, and by the pre-concluding track, “chemtrails”, it’s put into its entire perspective. Speaking about the closer, chemtrails, first is important because it symbolizes a type of loss yet to be explored on a the record: death. "chemtrails" is about Lizzy maneuvering life without her late-father, consistent with the theme of the album. Longing and loss are at the heart of the album; it being marketed with theme of skulls, ghosts, and the end of everything. Love is the prevalent theme on five seconds flat; loss of a partner, tragic death of love, the pursuit of love. “all my ghosts” captures this pursuit beautifully, painting an accurate picture of the honeymoon phase, the trauma of heartbreak, and the recklessness that can come with love. There is a lyric that I just love on the 8th track, “ceilings”. The lyric is “and it feels like the start of a movie I’ve seen before”, and it tells us how Lizzy has been here before when falling and love, knowing well how things may end, causing her to hold back from it.  “ceilings” also being the most notable track on the album that projected Lizzy into the mainstream.

Production on five seconds flat also expands on her soft sounding acoustics from her debut record without sacrificing her signature tone, harmonic vocal stacks, or acoustic presence. I absolutely love the way the strings introduce the second chorus of “called you again”, or the funky synth line that takes over the bridge of “erase me”. The mixes are done perfectly to compliment and contrast the grungier moments on “firearm”, or the soothing vocals on “hate to be lame”. Lizzy’s voice manages to compliment the calmer moments with the highs of her range, or fill the mix during punchier chorus lines with the lows. Philip Etherington Ehren Ebbage is credited for the production of this record and he did an outstanding job at transcending the indie, soft-spoken, melodic sound we were used to, to one that improves and expands to a fuller more dynamic tracklist.

As a piece of art, five seconds flat works so well, showcasing lyrically and sonically the highest highs, the lowest lows, and everything in between. It builds personal connections with the listener, giving you a place to cry, scream, shout or whatever. It’s also worth mentioning there is also a whole short film that goes with the tracks on the album. How cool is that? Easily one of my all-time favourites, and my favourite release of 2022. I mean it when I say I would do anything to listen to five seconds flat for the first time again. 

9/10

~ will