FRENCHIE'S TOP 50 RECORDS OF 2017

FRENCHIE'S TOP 50 RECORDS OF 2017

PART ONE: #50-21

PART TWO: TOP 20

It's that magical time once again. It's been a very solid year of music. I've listened to a lot of records but naturally there are always going to be some winners that pass me by so if there is something I may have overlooked please let me know! 

I'm going to include albums, EPs and collabs but not compilations or live releases. 

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ALBUM REVIEW: TAYLOR SWIFT - REPUTATION

TAYLOR SWIFT
REPUTATION
Big Machine Records
Synth Pop, R&B, Trap.
Listening Format: CD



I'm not even going to lie, Taylor Swift's '1989' is one of my favourite and most spinned albums of this decade. Certainly the best Pop album I've heard (or been made to tolerate). Even Ryan Adams covered the entire album, so I guess it really struck a chord with people even outside the target audience. But that said, I've never really enjoyed any of Taylor Swift's prior releases (although 'Red' certainly sewed the blueprints for '1989'). Still, I've actually looked forward to hearing how she could possibly follow it up. Numerous controversial news stories didn't really put me off as I'm more interested in her music than her. 

Well... I'm now convinced that '1989' was merely a one off gem. This is just flat out bad. I liked opening track and single '...Ready For It?' The bubblegum Pop chorus definitely recaptured those '1989' vibes, but other single 'Look What You Made Me Do' is just too annoying and throwaway for me. Have we really reached a point where artists need to blatantly rip off Right Said Fred in 2017 Pop music, I mean c'mon! 

Really when it comes to analysing 'Reputation' it's actually worth talking more about producer, songwriter and collaborator Max Martin rather than Taylor Swift herself. Not a lot has really changed in terms of Taylor's voice, lyrical style and performance, but it is Max Martin's songwriting and production that really falters this album. There was absolutely no doubt in my mind that 'Reputation' would be full of Trap beats, and they have been implemented in the most predictable, cliche and lazy way possible. They are just there for the sake of being there. What is an even worse offender is that this album is littered with wobbling Dubstep breakdowns... I mean seriously? This would have been old hat in 2012, let alone 2017. It just makes the album sound incredibly dated and creatively stagnated. There is far less of that dreamy vibe that made songs like 'Blank Space' and 'Clean' such winners, and the all out Pop bangers don't bang as hard because they are dripping with stock ideas and sounds.

I genuinely feel like Max Martin has given his best productions and ideas to Katy Perry's 'Witness' and Lana Del Rey's 'Lust For Life' this year, and Taylor Swift has been given the scraps. I listened to Katy Perry's 'Witness' album it is genuinely a good, catchy, well written Pop album with very similar blueprints to 'Reputation', just better realised. And yet 'Witness' has been a bit of a flop in terms of sales, popularity and critical praise. Lana Del Rey's 'Lust For Life' dabbled into Trap and R&B sounds, but actually carried it off rather well (especially for an artist who doesn't necessarily need to be singing over Trap beats). 'Reputation' is just a lowest common denominator Pop album that lacks any real spark or creative juice. It genuinely has tried to go for a slightly darker, edgier and more adult sound, but with so much unoriginality and predictability, it just falls flat on its face. Every track sounds like it was concocted by a marketing team. Ultimately it does very little to enhance the reputation of Taylor Swift or Max Martin. 4/10.

ALBUM REVIEW: ARCADE FIRE - EVERYTHING NOW

ARCADE FIRE
EVERYTHING NOW
Columbia Records
Alternative Rock, Art Pop, Electro-Funk, Disco-Pop.
Listening Format: CD



Arcade Fire are genuinely one of my favourite Alternative/Indie Rock bands, especially of the past 10 years. I was fortunate enough to hear them right from the start when their self-titled EP first came out, and I remember the video premiere of 'Power Out' back in the pre-YouTube MTV2 days. I've enjoyed following this band throughout my twenties and I feel like they have always been flag wavers for forward thinking, grand, majestic, bold and ambitious Rock music. Their first three albums in particular are already classics of the genre and era in my eyes. I actually really enjoyed 'Reflektor' for the most part too.

Previous album 'Reflektor' saw a step into a more Electronic direction, with influences of Disco and Funk popping into their sound. I guess the whole Daft Punk and Pharrell Williams thing made a huge impact around the time. Arcade Fire also enlisted James Murphy of LCD Soundsystem fame to add his magic touch. Though the album received mixed reviews from fans and critics, Arcade Fire have decided to delve even further into the realm of Electro-Pop, Funk and Disco with their fifth full length, 'Everything Now'. Even before this album came out, a big chunk of their fanbase seemed to let out a collective groan, but surely such an innovative band can't sink that low... Right!?

From the first listen it is obvious that Arcade Fire have been listening to a lot of Abba, Talking Heads, Bowie's 'Young Americans' and even more LCD Soundsystem. 'Everything Now' is their most overtly Pop-centric, commercial and radio friendly album to date. In particular it sounds worlds away from the band who made the dark and brooding 'Neon Bible' album. Regardless, I think 'Everything Now' gets off to a fairly good start. The title track and lead single is so uplifting, boombastic and catchy. The chanted chorus will get stuck in your head, and the production is fantastically layered. Certainly Arcade Fire doing what they do best. The funky as hell Disco grooves on 'Signs of Life' actually work really well. There is such a strong influence of Abba, Chic and even Donna Summer on this track. There are even FREAKIN' AIR RAID SIRENS in the mix! Perfectly nostalgic, and yet refreshingly modern too. Second single 'Creature Comfort' kicks off with an infectious Goldfrapp-esque Electro groove, but is sadly let down by some really cringey lyrics. "She dreams about dying all the time / She told me she came so close / Filled up the bathtub and put on our first record"... Ugh really Win Butler? That is some bad self-congratulatory fourth wall breaking. The whole song's lyrics about self harm, suicide, depression and body dysmorphia just come across so obnoxious and over the top when paired with such a happy, bouncy melody. The song also suffers from adding too many layers. The amazing Electro-Funk groove of the intro could have easily have carried the song, but the layers of synths, Regine Chassagne's high pitched backing wails, and a glockenspiel melody that makes it sound like an '80s Christmas song... It's just loses any sense of subtlety. 'Chemistry' has to be the worst song this band have ever recorded. Like... What even is this?! How did it make the final cut of the album??? It's a proper cat-sat-on-the-mat happy little ditty that makes MGMT sound like Pink Floyd. 'Infinite Content' is another painfully underwritten song that suddenly brings in these Punk-influenced guitars sounding absolutely nothing like anything else on this album, and it just sounds so amateurish and far too polished, with all the edges rounded off... 'Electric Blue' is the token song with Regine Chassagne on lead solo vocals (there's at least one on every Arcade Fire record) and this is one of the better songs here. The funky disco grooves are back and actually suit the shiny production style they are going for, unlike the horror of 'Infinite Content' (which lasts less than two minutes long by the way). 'Electric Blue' has a catchy stomp with an icy high pitched wail that works really well, I could see this being a hit in Indie Rock club nights. Again it reminded me of Goldfrapp. What happened to Arcade Fire only sounding like Arcade Fire eh?

I don't want to go on describing every track on this album. What we have here is an incredibly mixed bag of songs. There are tracks that I genuinely enjoyed and feel fit in with the aesthetics and vibes that Arcade Fire are all about, but for the first time on an Arcade Fire, I'm hearing tracks that are genuinely terrible, underwritten, amateurish and directionless. A big surprise from such an accomplished band five albums into their journey. Arcade Fire are lucky enough to be in one of those rare positions, where they have complete creative control of their sound, have headlined Glastonbury Festival, and continue to have strong album sales. They've had a similar amount of critical acclaim and simultaneous chart success as Radiohead before them. A band in this incredible position should not at all be simplifying their sound and aiming to make their most radio-friendly, Pop and commercial sounds yet. This is the exact point where Arcade Fire should be dropping their most experimental, abstract and challenging material yet, like what Radiohead continued to do after the success story that was 'OK Computer'.

I'm pretty sure that no Arcade Fire fans wanted them to make this kind of record. And whilst the final results are far from being horrible, in fact I've enjoyed a good chunk of this record on a superficial level, but Arcade Fire have such a strong reputation to uphold. I really feel like Arcade Fire have just sold themselves short with this record. We all know they are capable of SO MUCH BETTER, they've proved it again and again in the past. 'Everything Now' is pretty mediocre, forgettable and just way too simplistic and middle of the road for a band of this stature. An absolute missed opportunity and a lack of ambition or direction completely haunt this record from start to finish. It's not bad, but it is also so far below all of their previous efforts that it is almost painful... 5/10.

ALBUM REVIEW: LANA DEL REY - LUST FOR LIFE

LANA DEL REY
LUST FOR LIFE
Interscope Records
Dream Pop, Alternative R&B
Listening Format: CD



I'm not going to lie, when I first looked at the album sleeve (she's... Smiling!?) and the tracklist for this album, my first thought was "oh lord... This is gonna suck, this is gonna suck so hard!" The thought of Lana Del Rey pairing up with A$AP Rocky and The Weeknd felt so benign to me. And the reason I made this assumption is because I enjoyed her last album 'Honeymoon' so much. I always think of Lana Del Rey as being a forward thinking Pop singer and musician. Many of the artistic decisions she has made in the last few years have set such a high standard compared to most of her peers. Just about EVERY Pop artist, male or female, these days are cramming their albums with unnecessary guest rappers, and Trap influenced R&B beats, because it is trendy and it boosts sales. I've always thought of Lana Del Rey to be outside of doing what is considered "trendy". The more she sings over these earthy, string-laden, dreamy soundscapes the better she sounds. In return, by avoiding doing what all of her peers are doing, she ended up being a trend-setter in her own right.

With this being the case it was very much wrong of me to make the assumption that 'Lust For Life' would suck, especially coming off of 'Honeymoon', which I feel was her best and most accomplished full length yet. I guess I looked at that tracklist, the featuring and producer list, and hit the panic button, assuming she was about to undo exactly what makes her stand out so well. So how DOES the album fare?

Right off the bat, Lana Del Rey is sounding in fantastic form. 'Love' is a huge track to open with. Her voice is just sounding better and better with each release, and she absolutely soars across the chorus. Title track and single 'Lust For Life' is utterly sublime... The production on this track from Max Martin is outstanding. It captures that Twin Peaks Dream Pop style perfectly. There is a definite throwback to the '50s Spector girl group sound in the verses, and then the knockout "Take off all your clothes" chorus with The Weeknd is one of the most majestic things you'll hear all year. The way the two vocals combine is magical and the song is utterly catchy. It's goes from sounding nostalgic to cutting edge and modern all in just a verse to chorus transition. Without a doubt one of the best Lana Del Rey songs ever.

Though 'Lust For Life' starts incredibly strongly, we are still talking about a 70 minute long opus here. In the middle stretch of the album we start to hear the Trap beats coming into the production, though thankfully they are mixed fairly low. That earthy Dream Pop sound still manages to be a dominant force, and the use of strings and moody suspended chord synths absolutely still shine through, along with Del Rey's powerful, diverse and haunting vocal delivery. The two songs that I feared featuring A$AP Rocky are lumped together. 'Summer Bummer' is actually a good song in it's own right, and just about manages to fit within the flow of the album, but 'Groupie Love' is a particular lowlight. It feels more like an A$AP Rocky song where Lana Del Rey is the guest on the track. Admittedly, I expected much worse from these two tracks, but they do sort of work in the context of this album. I do get that such a long album needs to throw in some curveballs to keep things interesting, so it just about gets a pass from me. Sadly though, the album is rather front loaded. The last twenty minutes in particular does start to run out of steam. Even though the Stevie Nicks and Sean Ono Lennon collaborations appear, I feel like most of the best ideas had already been spent by this point.

Ultimately, when it comes to listening to Lana Del Rey, I like her to be selfish. I genuinely think she is at her best when she does her own thing, singing her heart out over nostalgic, dreamy ballads. I have to wonder whether it was her decision to bring in Trap beats, guest rappers and features, or is it a product of being on a major label? Regardless, she has still managed to turn out a mostly very strong album. I don't think A$AP Rocky gelled with her at all, but it was nowhere near a disaster like I had wrongly assumed. And the duet with The Weeknd is absolutely inspired. In fact in many spots on this album, Lana Del Rey sounds at the top of her game. I think this is her best vocal performance to date, and in terms of writing and production, she still stands miles ahead of other Pop vocalists. She can genuinely go toe to toe with the likes of Beyonce, Rihanna, Sia and Katy Perry, and often come out as the most forward thinking and interesting to listen to. Personally I think the 'Paradise' EP she released back in 2012 is her most groundbreaking release that just felt 100% Lana, but 'Lust For Life', whilst flawed, is still a very strong release that far exceeded my expectations. 7/10.

ALBUM REVIEW: FLEET FOXES - CRACK UP

FLEET FOXES
CRACK UP
Nonesuch.
Folk, Baroque Pop, Indie Rock.
Listening Format: CD















Oh, Fleet Foxes! It's been too long since I last heard from you! It's been 6 years since the American Indie Folk band dropped their sophomore record 'Helplessness Blues', and I've really missed them. In case you didn't already know, Fleet Foxes are one of the most blissful and euphoric voices in contemporary Folk music. The band are masterminded by vocalist and guitarist Robin Pecknold, whose incredible vocals are surely one of the most vivid and beautiful in the genre. It's almost like he has this ability to take the soulful vocal harmonies of Simon & Garfunkel, and embody them together in one voice. Fleet Foxes have self produced their third album 'Crack Up', but I have to hand it to the mix of Phil Ek, because this is the absolute benchmark for how vocals should sound on a Folk recording. Robin has the perfect amount of reverb on his voice, and he just soars gracefully on every word he sings. This gives Fleet Foxes such an immediately grabbing and recognisable sound that just melts my heart every time I hear them.

Here is the kicker though... 'Crack Up' is Fleet Foxes least immediate record yet. Yes I liked the sound of the record from the first listen, but the actual songs and structure of the album actually took some work to really sink into. Their 2008 self titled debut (it feels like only yesterday that it was released) was very much a Folk Pop record. It is by the far their catchiest album, spearheaded by their breakout single 'White Winter Hymnal' that is so easy to sing and hum along to. 'Crack Up' doesn't actually have a song that screams "catchy" or "hit single" on it. Fleet Foxes have continued a maturity and intricacy in the sound that they experimented with on 'Helplessness Blues'. That album saw the band meddling with progressive touches and sticking multiple songs into the same track. They explore upon this even further with opener 'I Am All That I Need / Arroyo Seco / Thumbprint Scar'. This track doesn't quite feel like three different songs strung into one track though... Maybe they couldn't decide on a title? The song is actually one of the simplest, largely hanging on a single strummed guitar chord that gradually rises and falls like an ocean wave as bombastic strings punch in and out of the mix. Closer inspection of the album booklet reveals stage directions in the lyrics, such as "But I'm all that I nee- / [The band kicks the loner off the stage]" which seems to reveal 'Crack Up' as concept album. If I had to guess, these foxes are taking the "fleet" of their name into a more literal context, by telling the story of a fleet of ships and their travels across the ocean. 

As I said before, 'Crack Up' will take even the most avid Fleet Foxes fans a few full listens to really get on board with. A lot of the songs on this album seem to begin and end quite abruptly. It took me quite a few spins before I started to realise where one song ended and the next began. A lot of the album tends to flow together with little to no pause. However unlike classics albums that do this such as... THE classic album, 'Dark Side of the Moon', there aren't any interludes or instrumentals to help ease those transitions. When it works, it works really well. It's weird that 'Cassius-' and '-Naiads, Cassadies' felt the need to be split into separate tracks when they flow so gracefully into one another. And yet eight minute long 'Third of May / Odaigahara' probably could have split off around the five minute mark as the latter half shape-shifts into one of the more downbeat and melancholic moods, after what could easily have been one of the most uplifting and dare I say it... "hit single" of the album! It actually feels like Fleet Foxes are trying to shy away from an instant accessibility that made their debut album such a warm breeze, but when you play with such gorgeous sounds and brilliant instrumentation, there isn't really any need to be so evasive.

Whilst the album may not have anything that screams a Pop hit, it does still have some absolutely banging standout tracks. The aforementioned '-Naiads Cassadies' (as forgettable as the song title is), is the closest we get to a big singalong. This short and simple ditty is built on a tambourine shake and a pounding kick drum, as Robin spits rhetoric, "Who stole the life from you?" Instead of having a big chorus, Robin simply breaks into waves of ooohs and aaaahs. If it wasn't for the overly complex and inquisitive lyrics, I'd say this one might have you singing along, but you will certainly hum and tap your foot! 'Third of May...' explodes into life from the very first second, sounding so triumphant and passionate. The instrumentation is so rich, with the baroque vocal harmonies lifting the song over treacherous waves and jagged rocks, as sunlight bursts through the clouds and that massive chorus we were craving beams over the horizon. But my favourite song of all comes in the second half. 'On Another Ocean (January / June)' gradually builds with one of Robin's most haunting vocal performances and a brittle wandering piano. Halfway through the song suddenly morphs into this breathtaking electric guitar slacker rock strum that wouldn't sound out of place on a Mac DeMarco record. This simple transformation from stirringly dramatic to super chilled is a moment of true magic, delivering those glorious summery feels that I so craved. Unlike the eight and a half minute 'Third of May...', this is a track that doesn't feel long enough, having me reach for the skip back button! I shouldn't though, as it carries over superbly into 'Fool's Errand' that plays like a march into battle... Except, ya know... wielding acoustic guitars!

If I have to say anything negative about 'Crack Up' it is that it tries to be a little more complicated than it really needs to be. It is an admirable thing to want to challenge a listener, but Fleet Foxes actually sound better the lighter and more accessible they are. When they try to be a bit too clever, it can sometimes cloud the sheer passion and honesty that spews effortlessly from their music. But the working of grand orchestral parts and epic scale storytelling certainly shouldn't be dismissed. 'Crack Up' is their largest and most ambitious album yet, full of vivid instrumentation and compelling narratives. Like any good record, it will reward you with repeat listening and gradually unfold like a flower in bloom. Easily a strong album of the year contender. 8/10.

#339: RICK ASTLEY - LIVE AT HMV MANCHESTER

80s Icon Rick Astley has just turned 50 and released a brand new album "50" to celebrate this milestone. "50" is his first album of all new material in 15 years, and in that time Astley has not done many live shows to the public. For fans of his, this intimate live performance at HMV Manchester would be a once in a lifetime experience!

Before Rick Astley even arrived, people around the store were feeling a little apprehensive, not knowing quite what to expect. Many will only know Rick Astley for his #1 mega hit "Never Gonna Give You Up" (which happened to be #1 on the day I was born). Some of the younger generation will also know him for the popular "Rick Rolling" internet meme from a few years ago, where people would be able to prank their mates by sending them an interesting YouTube video, only for it to revert into the music video for Rick Astley's mega hit after a few seconds! Because of the whole "Rick Rolling" phenomenon, I even found it difficult to actually convince people that Rick Astley was really performing at HMV today!

Even with expectations for the show being mixed, it didn't take very long for Rick Astley to convince people that he was for real. He came out with a 5 piece backing band all dressed in smart suits, consisting of a guitarist, bassist, vintage synthesiser player, live drummer and backing vocalist! From the very first song, Astley's deep Soulful vocals soared across HMV, holding notes effortlessly. If anything his voice has improved with age, and the sound he accomplished with his band was much more Soul and Funk driven, as opposed to the Synth Pop/New Romantic sound he was established with.

Rick Astley not only performed songs off his new album, but threw in a few old numbers. The first of these was his hit "When You Needed Somebody", which certainly got the *ahem* older people in the crowd clapping, dancing and singing along. New single "Keep Singing", Rick explained was about how even if life hands him lemons, he finds if he keeps on singing, everything will be okay... A gesture he has certainly proven this evening! Astley gleamed with so much positivity and sheer passion for his craft, which was reflected on the very enthusiastic crowd. Another new song "Pray With Me" was a Funky, uptempo number that had a real groovy bounce to it, showing that his backing band were really solid!

Rick Astley must have taken the whole "Rick Rolling" escapade with good humour, as the man was simply on fire tonight! Between and even during songs, he had the whole crowd in stitches of laughter, calling out his mate as a shoplifter! During his hit ballad "Cry For Help", backing vocalist Dawn sang her solo part so powerfully that it broke the microphone, so he jumped in and started singing soulfully "sorry about the broken microphone!" This song was particularly fantastic, not only showing how talented his band were, but he managed to convincingly capture a Gospel influenced sound. I think it sounded even better than the 1991 original did!

Of course no Rick Astley performance would be complete without a rendition of his mega hit "Never Gonna Give You Up". It's great to know the man doesn't take himself too seriously, introducing the song in a tongue in cheek manor. Some artists end up getting sick of playing their biggest hit song, but even at 50, he gave it welly. In particular the catchy synthesiser melody really shone, and Astley's vocals sounded absolutely flawless. The crowd went pretty crazy for this one, singing every word along and there were huge smiles on everyone's faces!

Most Pop artists who come to visit HMV, don't end up performing live. Perhaps it because it would be too hard to mime in such intimate venues! This evening Rick Astley proved that he was the real deal, with a stunning voice, a great backing band, and a lot of positivity, humour and passion to boot! He managed to turn the 80s cheese into a genuinely Funky Soul sound that worked wonders, with new and old songs sounding great. Even after a long hiatus, the man sounds like a born performer, and I expect his upcoming tour will be a spectacular one! Talking to the HMV staff afterwards, many were blown away by just how amazing he was, with some saying it was the best performance at HMV Manchester yet, and I would have to agree with them. No I am not Rick Rolling you, he really was that good!

June 10th 2016 @ HMV Manchester. Photography by Rich Smith of Digital Bath.