The band succeed in bringing some light into the picture while also acknowledging that some of those feelings of anxiety or inadequacy are still there.
It’s all too controlled and unambitious; and just aping Dylan’s wheeze doesn’t make it any more intriguing.
It’s an enjoyable, occasionally virtuosic romp, fronted by Thundercat’s smooth soul harmonies, which lend proceedings the lustrous sheen of Earth, Wind & Fire.
It still feels like it's holding charms that will unfurl with more listens. It is an incredibly cohesive album though - it operates in its own defined space and has an intense frostiness to, which, for The National, is saying something.
Lust For Life is more of an elaboration on her favourite subjects rather than a repetition, in fact, it’s her most expansive album to date.
Over the years, she has been portrayed by the outside world: as the girl next door, the geek, the romantic, the marketing genius, the victim, the snake. Add them together and you might just get a complete person. Swift isn’t denying any of those facets of herself. She’s not excusing them. She’s just saying there’s more than one.
Vulnerability is the current stock-in-trade of neo-soul, but rarely has it been indulged quite as imaginatively as on Sampha’s Process.
The band have retained their brusque character but it’s less ponderous than before, with several tracks taken at an unfeasibly rapid tempo; while Ronson has brought production clarity and a punchy funk sensibility that transforms QOTSA’s trademark robot-rock rhythms into something much more dynamic and danceable.
Annie Clark’s industriously idiosyncratic manner on previous St. Vincent releases has often given the impression that she’s trying to distract her listeners, wreathing songs in such swirls of sonic invention that one sometimes loses track of which direction they’re headed, or what they’re about. That’s not so much the case with Masseduction.
Stormzy is clearly on the verge of becoming the next grime crossover success.
The trip-hop rhythms may have been replaced by a more varied range of beats ... but the mood and manner of Ghostpoet’s fourth album is steeped in much the same themes and textures, hauled up to date and delivered in a nonchalant deadpan akin to Roots Manuva.