Two Months On…Is ‘Donda’ Kanye West’s Magnum Opus?

Charlie Lake on 15 November 2021

Over two months have passed since the release of Kanye West’s (now formally known as Ye) 10th solo studio album, Donda, which came to life following three performative public listening events. But how does the final version of the album stack up against his past releases, and the other big-name releases of the year?

Squid take you on a sonic journey through the Bright Green Field

Benjamin Forrest on 20 May 2021

Brighton-based quintet Squid have slowly been releasing tracks since back in 2016, with some notable highlights being the 2018 single ‘The Dial’ released on the cult label Speedy Wunderground – who would later release their incredible ‘Town Centre’ EP, and the 2019 single ‘Houseplants’ which received a lot of airplay on BBC 6 Music. More locally, Squid made waves playing a blistering good set at Hyde Park Book Club as part of Live at Leeds in 2019. With the amount of hype built up around the band, it was very possible that their long-awaited debut Bright Green Field(released via Warp Records) would feel somewhat underwhelming, but fortunately for us Squid delivered one of the most original and exciting albums we will see in 2021. 

Squid are one of the few bands around at the moment that never seem to sit still, constantly jumping from one sound to the next – just as you think you have gotten used to their sound, you are jolted in completely the opposite direction. This is perhaps why, with every new release, Squid seem more individualist and bohemian. Bright Green Fieldincorporates elements of jazz, punk, psychedelia, funk, post-punk, dub and everything in-between; it is a beautiful sonic menagerie and an excellent listening experience. 

The album kicks off with the atmospheric ‘Resolution Square’ which sets up the experimental tone of the album perfectly before blending seamlessly into the ‘G.S.K.’. The first track and its transition to ‘G.S.K.’ really signifies that Bright Green Field is not merely a collection of songs but a perfectly handcrafted album; a listening experience in which you are transported to this frantic and slightly weird world for just under an hour by the means of blaring horns and dystopian lyrics. ‘Narrator’ is a definite highlight within the album, the 8-and-a-half-minute epic encapsulating much of what is so brilliant about the band. The tempo can change on a sixpence, building to what seems like a climax before stopping dead in its tracks. The unpredictably chaotic nature of the track coupled with the contrast between the frantic vocals of Ollie Judge and the (initially) gentle tones of guest vocalist Martha Skye Murphy combine to form an exigently compelling track. Furthermore, the fact that ‘Narrator’ can exist on the same album as the experimental electronic track ‘Paddling’, the Krautrock influence of ‘Peel St.’ or the dream-like psychedelia of ‘2010’ and still have the album flow so seamlessly as though it were one continuous song is testament to the musical brilliance of Squid. That being said, Bright Green Field really works best as an album – none of the individual songs on the album would work particularly well as a single release, or at least they would not have the same impact as they do when listened to within the context of the full album.

Bright Green Field is a prime example of a genuinely exciting band at their very best. From the cover art to the mixing, there is seemingly nothing that could be improved on this album. The only worry is that it will be a difficult album to follow, but then again, if anybody can do it, Squid can! The band are set to play Brudenell Social Club on August 31st, it will be interesting to see how their new material is performed live but based on their Live at Leeds set from 2019, it will be a great show regardless. 

Leeds art-rock gurus Mush take on the current dystopia on new album Lines Redacted

Benjamin Forrest on 14 February 2021

Leeds-based art-rock indie guitar gurus Mush released their second full-length LP this month to much critical acclaim. The album was released on Memphis Industries, home of their Leeds contemporaries Menace Beach, which acts as a good indicator for the sheer quality of this release. Mush burst onto the radar of the music press in the run up to the release of their debut album 3D Routine in early 2020 and, despite the coronavirus pandemic, the band seem to be going from strength to strength and gathering momentum all the while. Lines Redacted follows on from October’s Yellow Sticker Hour EP and is the band’s first release since the tragic loss of guitarist Steven Tyson in December 2020. 

3D Routine was, in my mind, one of the greatest albums of 2020 thereby it would be tough for Lines Redacted to top it, but I dare say that the new album is the band’s finest work thus far. Mush have retained their trademark sound in terms of jangly guitars and lyrics critical of the current political landscape, yet their sound has clearly matured a great deal since the last album. The angry, and at times comedic, takes on the current state of affairs are backed up by one of the tightest bands around at the moment. One of my very few criticisms of their debut was a feeling of overproduction, if you listen to the 7” release of Gig Economy vs the album mix, for instance, the 7” version feels a lot rawer and more energetic – a feeling which was lacking on the album in my opinion. On Lines Redacted, however, I have no such criticisms, Lee Smith does a fantastic job of mixing these tracks. Smith had previously worked with Pulled Apart By Horses and The Cribs which obviously suggests Lines Redacted is purposely going for a more raw, loud and distorted style in comparison to the clean-cut sound of 3D Routine.

The tracks on Lines Redacted fluctuate between moods, there is certainly more variation in this album in comparison to the band’s previous works – from the upbeat Mush we all know and love on tracks like ‘Blunt Instruments’ and ‘Seven Trumpets’, to a much more mellow, melancholic atmosphere on the final track ‘Lines Discontinued’. The album, on the whole, feels much more mellifluous as opposed to the high-energy of previous songs such as ‘Revising My Fee’ for example. ‘Lines Discontinued’ is definitely the standout track on the album, a seven-and-a-half-minute masterpiece which encapsulates everything that is brilliant about Mush. The sudden changes in mood, the tongue-and-cheek lyrics and the absolute excellence of the guitar riffs – it is all present within this track. ‘Lines Discontinued’ only serves as a representation for just how incredible and versatile this band are. 

I was lucky enough to see Mush perform at the album launch of 3D Routine (before the world fell apart) and it simply blows you away to witness such a display of musical brilliance right in front of you – particularly on Lines Redacted, I think Mush have been able to replicate this perfectly within a studio setting. There are no other bands that spring to mind that are comparable to Mush currently, nobody else is doing what Mush are – at least not to the same scale or quality – they are beautifully original, innovative and they are sure to go down as one of the greatest independent bands produced by the city of Leeds. 

Psychedelic Porn Crumpets evolve on chaotic new album Shyga! The Sunlight Mound

Benjamin Forrest on 11 February 2021

When flicking through boxes of singles in a record store, people like me are often compelled to a band simply because of their name. In fact, I have discovered some of my favourite artists via this method, and Psychedelic Porn Crumpets are no exception. As you can likely deduce via the name, or the fact that they formed in an old horse barn after meeting each other through a shared drug dealer, that the Crumpets are a fairly ‘far out’ band. Their first studio album High Visceral (released in two parts) is brilliant explorations of grunge psychedelia, whilst their 2019 album And Now for the Whatchamacallit signified a transition more towards pop rock – though elements of their original sound remained, on tracks such as ‘Social Candy’. 

The Perth outfit’s latest offering Shyga! The Sunlight Mound feels very much like a continuation of their previous album, in terms of moving from a more hardcore, grungy, psychedelic sound to a style more consistent of indie rock. That being said, Shyga! blows the previous album out the water. It feels much more refined and perfected – incorporating elements of their early work whilst still creating a more pop-y sound – perhaps reminiscent of their Australian counterparts Tame Impala. Instead of feeling like the band have sold out their sound for more commercial success, though, it feels like this is simply an evolution in the sound of the band which, in my eyes, can only act as a positive thing going forwards – nobody needs another Catfish and the Bottlemen churning out the same album every few years. It is also important to note that the band exists on their own label, What Reality? Records and, I mean, their name is ‘Psychedelic Porn Crumpets’ – so I very much doubt the claims that the band are selling out their original sound for a more commercially viable record.

The album, from the first track onwards it is very energetic, fast-paced, and, at times, chaotic – most notably on tracks such as ‘Tripolasaur’. There is scarcely a chance to catch your breath, it is like racing through a tunnel of acid-induced hallucinations (much like in the beloved children’s film Willy Wonka and the Chocolate Factory). The band reportedly have a broad range of influences from Led Zeppelin to the Mighty Boosh, both of which are identifiable within this album, with many tracks featuring guitar riffs which would not feel completely out of place on a 1970’s hard rock album. The latter half of the album, in particular, features some fantastically energetic adrenaline-shots, coming in the form of ‘Mundungus’ and ‘The Tale of Gurney Gridman’ which were a very welcome addition to the driving momentum present throughout the album. Shyga! admittedly delivers some very route-one indie pop songs on tracks like ‘Mr. Prism’ which, although not a bad song by any means, is disappointing from a standpoint of musical exploration and originality. Much of what the Psychedelic Porn Crumpets are doing on this album was being done by Menace Beach five years previous, so the Crumpets are not necessarily breaking new ground with Shyga! The Sunlight Mound. It does, however, show a maturing of their sound which often, on this album, results in some chaotically fun songs to listen to and I will still undoubtedly be revisiting this album throughout the year

Neil Young Revives a Forgotten Era with New Live Album ‘Return to Greendale’

Roxanna Zoughi on 16 November 2020

Neil Young’s tour with Crazy Horse has been released as a two-cd, twoLP vinyl set and live recording, documenting his 2003 performance of his 25th album ‘Greendale’. The album, which was released in 2002, was a collaborative piece with rock band Crazy Horse, and its subsequent tour was a theatrical performance of the various individual stories and experiences of the inhabitants of a fictional Californian town called Greendale.

The tour shows the ten songs performed by a cast who lip-synch the words sung by Young. The animation of the character’s experiences through theatre form enhances the storytelling aspect of Young’s music which is especially integral to the original 2002 album. Young’s signature tenor vocals are typified by a naïve suggestion that is both juxtaposed to and enhanced by his punchy musical arrangements on electric and acoustic guitar, harmonized with the help of Crazy Horse.

But what about the words? Young emphasises various socio-political issues in his lyric, including ecological concerns raised in ‘Be the Rain’ which urge mankind to “save the Earth for another day”, whilst ‘Sun Green’ touches on the fear and lack of truth in the media which is only further perpetuated by the State; issues that are all the more relevant 17 years later. The release of Return to Greendale, especially with its accompanying concert film, revives what was a previously forgotten album amongst Young’s other works, and ultimately reasserts the pertinence of its socio-political direction to the 21st century.

Photo: Fraser Harrison/Getty images