why me why not review

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revels in the joy Gallagher seems to feel whenever he makes music, an album written by an experienced artist who’s determined to … The result is Cause and Effect, the English group’s first album in seven years. (Mark Beaumont), On Cage the Elephant’s fifth album, Social Cues, frontman Matt Shultz reacts to the breakdown of his marriage and the loss of three close friends. And “The River”, with its clunky references to “money-sucking MPs” and political protest, showcases Gallagher at his least comfortable. Music Review: Liam Gallagher - Why Me? It’s intriguing, then, that “Strange Room”, a tender and drawn-out song played over muffled notes from an old piano, is the clear standout here. A cornucopia of instrumentation is woven into its brisk 42-minute yarn. Produced by Rapsody’s long-time collaborator and mentor 9th Wonder, the record samples cuts from Herbie Hancock’s “Watermelon Man” (“Whoopi”) and Phil Collins’s “In the Air Tonight” (“Cleo”), offers a smooth R&B joint with “Aaliyah” featuring the late singer’s ghostly backing vocals, and includes an interlude that is “an ode to the black woman’s body”. Tracks are at once astute and deeply personal in how they capture vignettes of everyday life and spin them into important lessons. It’s the classic pop plotline of Bacharach and David’s “Do You Know the Way to San Jose?”, and it’s a tale Springsteen taps repeatedly here, on his sumptuous, cinematic 19th album, which is nothing short of a late-period masterpiece. Since that first record, Mushonga has begun to incorporate themes of empowerment into her work.

(Roisin O'Connor), Nesbitt is back with her second LP, switching to a brand of soul and R&B-fused pop that feels bang on time, and suits her far better. Listen to Katy Perry’s summer smash “Never Really Over”, or Taylor Swift’s feminist clap back “The Man”, and you’ll hear the same dense, sticky synths and brawny beats that the emo-pop trio have been honing for the past three years. (Elisa Bray), “I don’t know where I’m going,” Tyler, the Creator begins on the song “I THINK”.
The production here is superb. On “AtalantA”, she showcases her muscular vocals, which are capable of switching between an airy lilt to a deep, emotional moan, as she sings lyrics inspired by the Greek hunter goddess who refused to marry. Sadly, most of the new songs peddle tame, low-stakes nostalgia, swimming in cliches and drowning in sentimentality, as satisfying as trying to get relationship advice out of a cashpoint. It allows our most engaged readers to debate the big issues, share their own experiences, discuss real-world solutions, and more.

“I know it’s late for lullabies, but the future is yours and mine,” he sings, alongside upbeat whoops and Radio 2-friendly guitars. But beneath its hazy synths and electronics are songs of endurance and inner peace, of settling after a flurry of activity. Why Not. The overarching sound, production and instrumentation on Eve are outstanding.

It’s layered with whimsical flutes, intricate guitar picking and sombre bass lines that meander with casual abandon. Assertive tracks “Loyal to Me” and “Love Letter” nod to TLC’s “No Scrubs” and Destiny’s Child’s “Survivor”, but there is vulnerability, too, in the acoustic guitar-led neo-soul of “Somebody Special”, and the tender heartbreak on ”Is it Really Me You’re Missing”. There’s no attempt to chase someone else’s wave here; no token drill, afroswing or trap beats to satisfy playlist algorithms.
Flamagra – a playful yet melancholic, skittish yet meditative 67 minutes of cosmic genius – is one of Flying Lotus’s most accessible releases. (Helen Brown), Help Us Stranger reaches all corners of guitar rock: funky Detroit garage (“What’s Yours Is Mine”); country soul (“Somedays (I Don’t Feel Like Trying)”); psych (a cover of Donovan’s “Hey Gyp (Dig the Slowness)”); blues and bluegrass (“Thoughts and Prayers”). On it, O’Riordan, who recorded demos for the album’s 11 tracks before her death in January last year, sings: “Fighting’s not the answer/ Fighting’s not the cure/ It’s eating you like cancer/ It’s killing you for sure.” The band have spoken about how O’Riordan was singing about leaving many of the negative things in her life behind. Already Disappeared is not an easy album. (Kuba Shand-Baptiste), FoalsMerging their asymmetrical early math pop with the deep space atmospherics of Total Life Forever and Holy Fire, plus added innovations – ambient rainforest throbs on “Moonlight”, deadpan EDM on “In Degrees”, Afro-glitch Radiohead on “Café D’Athens” – they’ve created an inspired album of scorched earth new music that, in all likelihood, will only really be challenged for album of the year by Part 2. The Good: 2017’s As You Were was Gallagher’s first serious approach to songwriting and performing with musicians outside his Oasis circle of trust. Why Not. Charli’s always so much cooler when she swaps the people-pleasing nostalgic for the free-wheeling futuristic.

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