The Lumineers – BRIGHTSIDE (Album Review)

Storytelling is one of the most interesting aspects of music for each song is a self-contained life experience, but one that shifts meaning for the individual, based on our own subjective life experiences. Throughout the years I’ve often ignored literal lyric interpretation, instead choosing to appreciate the human voice as an instrument in its own right. It isn’t that I disagree with the lyrics in many songs but, although that is inevitable at times, the emotive feeling and how the song touches me on a musical level is what I truly value. After all, unless it’s a song like The Smashing Pumpkin’s Bullet with Butterfly Wings, the music resonates with my soul well before the introduction of lyrics which are often as convoluted as poetry in its written or spoken forms. 

Thankfully I’m not alone for I know many music lovers who are captivated by the sonic aspects of music and Wesley Schultz (guitarist and lead vocalist of The Lumineers) indicated that the writing and recording of BRIGHTSIDE were approached by tapping into a feeling first then applying the stories and lyrics after the music had been written. While it signifies a shift in The Lumineers’ recording process, BRIGHTSIDE is a further evolution of their artistry. Fans looking for ultimate lyrical styling would be best sticking to III or their eponymous debut for the storytelling is arguably more prominent on these earlier releases. That isn’t to suggest BRIGHTSIDE is absent of meaning, anything but, but upon comparison BRIGHTSIDE is focused more on the incredible sonic experience with added lyrics that, despite being well-polished, are closer to fully realised demos. 

Speaking of sonics, the Dolby Atmos stream on Apple Music is subtle in its use of space and while nothing specifically stands out, either positively or negatively, the mix is thoroughly enjoyable with a more immersive sound signature than the lossless stereo edition. Stereo fans, however, won’t be disappointed as BRIGHTSIDE is on par with the superb mix and mastering heard on their earlier albums. 

BRIGHTSIDE has a magnificent intro that reminds me somewhat of Neil Young & Crazy Horse; particularly the style applied on their album Psychedelic Pill. That correlation aside, BRIGHTSIDE is magnificent and sets the tone of the album. The level of distortion on the guitar track is utterly perfect and along with the bass and drum rhythm creates a solid basis for all other musical aspects and lyrical storytelling to lay on top of the bed of music. There is little wonder in my mind as to why BRIGHTSIDE was chosen as the lead single, yet there are arguably better songs to be heard on the album. 

The accompanying music video is a little left-of-the-centre, but that isn’t necessarily a criticism. Usually, with music videos, I like for them to start immediately with little to no fanfare. Of course, that limits the creative vision somewhat and in this case, The Lumineers have asked random people to describe what love means to them. You may recall that I don’t always focus on lyrics, but this question, and the responses, relate to the song’s theme.

Following the introduction, the imagery and overall edit are perfectly synchronised to the music before we’re taken to a small faux live performance of the song with intermingling scenes that depict life’s infatuations. Unfortunately, while I would love to declare that this music video is amongst the very best I’ve seen in recent years, the wedding injection that appears in the final minute of the music video detracts from the song itself. It was a strange creative choice and one that, if I’m to be completely honest, I don’t fully grasp.

A.M. RADIO has such a delicate introduction that it’s nothing short of exceptional. If Schultz’s vocal prowess doesn’t move you, you’re listening wrong. A.M. RADIO, however, builds to an epic chorus that showcases not only how talented The Lumineers are but how every little element is essential in the mix for the layers of detail reveal themselves upon repeat listens. It’s an astonishingly good song and, again, that chorus is magnificent. 

The music video, not unlike that of BRIGHTSIDE, starts with a live recording backed by a series of early video clips as The Lumineers explain to their live audience how a call and response functions in a live setting. Again, it’s a distracting element that doesn’t allow you to get straight into the music video, but I find this style is less distracting on A.M. RADIO as it builds anticipation in the viewer/listener’s mind, especially if you already know the song and its hook. That said, the song is far superior to the music video as the visual accompaniment doesn’t seem all that well-suited to the song itself. 

WHERE WE ARE creates an earworm but it’s such a great composition that I don’t mind. Perhaps the greatest element in this song is something that you may miss unless you’re listening for it and that is the slap on the piano/organ keys. It contrasts with the highly polished output of the rest of the song and is one of those elements that I’m so glad they chose to leave in. It isn’t overused, which is good, but it certainly helps with rhythmic connection. 

One of my processes when evaluating how strong an album is is to listen to the first three songs as they either make or break a release and as you may have already been able to tell, dear reader, this is one exceptional album and WHERE WE ARE is a masterpiece.  

The music video is fantastic and has a fundamental concept that I can most certainly get behind because even though it is focused on a single event, the song’s chorus is applicable to any experiential moment and is strangely comforting.  

BIRTHDAY is campy, like really campy, but I’d be lying if I said I didn’t like it. I love the Beatles-esque styling and I dare say it will be a guilty pleasure for many of us.

BIG SHOT is magnificent. I adore the simple musical accompaniment to the vocal and that call and response element that is attached to the chorus is out-of-this-world. It’s songs, and music like this, that remind me why music is so special to the human experience. Thank you, Lumineers!

This music video is simultaneously the best from BRIGHTSIDE, but it’s depressing. Yet, I wouldn’t change a thing for the music video makes you think about the decisions you make in the course of your life and the consequences of your actions and how regret plays a role even if you’re doing something deemed to be necessary at the time. 

NEVER REALLY MINE is a solid tune, even if it sounds as if the vocals are not fully formed, thereby being closer to a demo recording. While NEVER REALLY MINE isn’t as strong as the rest of the songs on BRIGHTSIDE, the slow build midway through really take the song to a whole other level that allows it to blend more seamlessly with the other songs and the overall style of the album. 

ROLLERCOASTER sees a return to the slapping piano keys that I loved from WHERE WE ARE. While the composition is delicate, there isn’t anything missing as the musicality and vocal are perfectly mixed and remain at the forefront of the experience.

REMINGTON is the shortest song on the album but sometimes less is more and the gapless segue into REPRISE is a musical masterstroke. 

REPRISE is, dare I say, the best song on the album as it bookends BRIGHTSIDE perfectly thereby encouraging us to listen to the album again. It simultaneously permits contemplation and without a doubt is one of the greatest closing tracks ever recorded, by anyone. 

While BRIGHTSIDE, much like The Lumineers’ other albums are on the shorter side of what we normally experience, it’s the perfect length as it prevents the mind from wandering, thereby allowing the music to fully integrate with our souls. As one of the best albums of 2022, and possibly The Lumineers’ greatest musical achievement, I look forward to seeing how they will top it with future releases. 

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NEIL FRANCES – There is no Neil Frances (Album Review)

Who is Neil Frances? 

Some dude? 

Well, electronic indie-pop duo, Jordan Feller and Marc Gilfry give us the answer by declaring There is no Neil Frances. Yes, dear reader, it is an interesting play on words and makes you wonder just how Neil Frances became Neil Frances. While I’d love to look behind the curtain, sometimes not knowing is the ultimate reward for it isn’t only the band’s name that I find intriguing but the fact that the song titles are collated in such a manner that when read together, form a poem. There is no Neil Frances is subsequently more than a series of songs, or a basic album, for it is an experience that is well-considered with regards to their intended audience and this naming convention reminds me of the successful implementation The Roots have had with their consecutive numbering structure. 

While no announcement has yet been made regarding a possible vinyl release, the lossless Apple Music stream is thoroughly pleasing. The mix is arguably perfect, but the music gives you a dream-like sensation that would be perfectly experienced via a surround mix. Disappointingly, a Dolby Atmos version is not available and while I acknowledge that technology may extend beyond the cost-to-value equation of independent artists, There is no Neil Frances would be a perfect contender as much of the album is already expansive and immersive, within the stereo mix. I can only imagine how impressive a multi-channel release would be. Similarly, but naturally different, I feel the fuller sound of vinyl would take the album to a whole other level. Of course, one shouldn’t confuse these wishes for a criticism of the recording, mix, and mastering process of the album, for I wouldn’t alter any aspect of the stereo mix, it’s just that I’d love to hear a little more; literally. 

Little heartbeat, merges with your own heartbeat then takes the tempo up a few notches. It really is an immersive experience and it helps that the song has a slow build before masterfully adding in the vocal component. I’m not sold, however, on the synth elements that remind me of Deep Purple as it simply sounds out-of-place. The outro is also obscure. I don’t mean the amazing fade-out, but the incoherent vocal element that is as irritating as Jim Carey’s radio DJ addition to The Weeknd’s Out Of Time. Seriously, I’d love to know why it was added and if Neil Frances realises that this technique doesn’t play well within playlists. While different, it irritates me to the same level as the inclusion of Breath (In The Air) on Pink Floyd’s Essential’s Playlist. Listen to how it abruptly ends before going into Hey You. It somewhat ruins the experience and while Floyd’s gapless playback worked wonders on Dark Side Of The Moon, this technique simply doesn’t transfer well beyond the album experience. 

on a dark night, has a great rhythm, with a catchy chorus, that will get you grooving; superb! The vocals here remind me of Billie Eilish and I can’t help but want to hear this song performed as a duet.

I just want you to is an interlude that perfectly segues into be free. It’s short, to the point, but works incredibly well for its intended purpose.

be free. continues with a similar tempo to on a dark night, but this is one song that would be perfect for any dance club setlist, anywhere in the world.

The music video is primarily a behind-the-scenes montage and for its purpose, it’s adequate. Could a better music video have been produced? Absolutely, but at least Neil Frances didn’t release a lyric video.  

I can feel the pressure has a haunting introductory vocal element that captivates my soul. Following the introduction, a bluesy pop rhythm fully realises the potential of the song and when it all comes together, I can feel the pressure becomes the best song on the album.

thump thumping from a distance (Karen’s Interlude). is simply hilarious and is perfectly aligned to the zeitgeist. Unlike the spoken word elements that broke up the flow of The Weeknd’s later release, Dawn FM, this particular instance is done so well that it creates a seamless transitional element between songs. 

It’s like a dream is a solid tune but it’s a little too predictable and safe, meaning that it isn’t a standout. 

where I become someone (feat. Benny Sings) is one of those songs that you can’t help but reflect upon positively. Of course, becoming someone is subjective to the individual, so take a listen, think about what becoming someone means to you, and play this tune whenever you’re in doubt or feel that you’ve lost your way. 

The music video is, however,…confusing. Yes, many modern music videos are open to interpretation, but in this instance, the animations don’t really match the music thereby making it, dare I say, pointless.

dancing will touch your soul as your body moves involuntarily to the rhythm. While the stereo mix is exceptional, with countless musical levels, dancing is one song that would most certainly benefit from the additional channel elements provided by an Atmos mix. 

in the starlight, is a low-point for the album. It fails as a song and doesn’t live up to the songs that have come before it.

finding rhythm (feat. GRAE) merges seamlessly from in the starlight and thankfully it is a far better song.  

The music video is interesting and, at first, I didn’t know what to think. It has a low-budget indie-feel to it and doesn't quite sync to the music, but I’ll be damned if I don’t acknowledge how compelling the silent story was when laid on the musical bed that is finding rhythm. 

every day with you, is a musical mishmash and in the context of the album flow, it works, but it isn’t a song that I feel anyone would seek out on its own.

we’re falling up has an interesting style and is one tune that I initially didn’t connect with. Upon multiple listens, however, I was able to unpack the song and its particular elements in a manner that allows me to fully appreciate it thereby demonstrating that you should always listen to music multiple times before dismissing it. 

like electric blue angels. is dreamy, due in part to a vocal that is choral in nature. While lyrics are naturally present, they’re so mumbled that they’re next to incomprehensible. In this case, the human vocal can be seen as an instrument in and of itself and as such I feel it becomes the perfect closer as it leaves you in a contemplative mood, ready to experience the album again. 

From start to finish, There is no Neil Frances is an experience that deserves to be heard and is indicative of the indie-pop electronic genre. While I can feel the pressure is the standout song on the album, the remaining tunes blend into a piece of linear musical art that is the sum of its parts. Adding to this is the relatively restrained runtime that compels you to put the album on repeat. There is no Neil Frances plays beautifully as either focused or background music, thereby ensuring it will appeal to any moment of your life.

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The Weeknd – Dawn FM (Album Review)

Few contemporary artists excite me the way The Weeknd does. The R&B/Soul legend evokes the 80s with a synth-pop style that is exhilarating with a unique modern twist.

Of course, The Weeknd is no nostalgia act and continues to go from strength to strength with each subsequent album. While Dawn FM may be less of a coherent musical experience, for the flow is interrupted by the radio-style concept, this approach will undoubtedly appeal to those who are after more than The Weeknd’s usual groove-infused music, but it impacts fluidity across the album. 

What isn’t impacted by this radio-inspired concept is the Dolby Atmos mix on Apple Music. The fullness of sound is mesmerising and offers a significant improvement to the soundstage offered via the lossless mix. In essence, you’ll get more with the Atmos mix but stereo-focused music lovers won’t be disappointed. As you may imagine, I prefer the Atmos mix but thankfully you can decide which version you prefer when listening to Dawn FM on Apple Music. That said, Dawn FM doesn’t push the boundaries of the surround technology, but the fullness of sound leaves no gaps in the soundstage and while its implementation is subtle, it’s quantifiably more immersive than the stereo mix. Unfortunately, if you’re interested in listening to the Alternate World version of Dawn FM, the expanded offering is only available in stereo; an omission that’s a shame for those of us who appreciate the Atmos mixes and also long for more music from The Weeknd.

Dawn FM is a fantastic opener and is sonically impressive. As the song builds you get an immediate sense that something great is coming, but Jim Carey’s disc jockey contribution initially came as a shock. Nevertheless, it grows on you the more you listen to the album and Carey’s inclusion ultimately becomes appreciated throughout. That 103.5 Dawn FM sign off slogan is, however, incredibly annoying. I’d argue that there is a greater song to be heard in Dawn FM and I do hope that in a future release we may get the full version of the song without the radio talk.

Gasoline transitions beautifully from Dawn FM and is the star of the show. There’s a David Bowie influence to be heard here but Gasoline is unmistakably unique to The Weeknd and will become a long-lasting hit, as Blinding Lights has. Without a doubt, it’s the best song on Dawn FM with a new wave pop styling that provides an uplifting rhythm that separates it from its gloomy lyrical story. 

The music video is dystopian and a little despondent in places and while it’s gritty and evocative, ensuring I can’t look away, it captivates me in a similar manner as Beyoncé’s Lemonade did. While perhaps not as polished as Beyoncé’s approach, the live stream of 103.5 DAWN FM, originally broadcast on Amazon Music, is a wonderful visual accompaniment. If you’re after further complementary video content to Dawn FM, you could also check out The Dawn FM Experience on Amazon Prime Video.

How Do I Make You Love Me is rhythmic gold. The chorus is catchy and the beat will have the dance floor flexing. Perhaps my only argument against How Do I Make You Love Me is that I feel it is too short and that it could have been extended on the back end of the tune. Of course, it leaves you wanting more and sometimes that’s a better proposition. Besides, it does transition seamlessly into Take My Breath. 

Take My Breath demands you turn the volume to 11, if you haven’t done so already; it’s that good! No wonder it was chosen as the lead single. The moodiness of Take My Breath will captivate the senses, as will the synth dance-pop styling, and while I put Gasoline on par with Blinding Lights, Take My Breath is another that fits that pairing with its disco-driving rhythm. The mix and overall vocal presentation will likely remind you of the Bee Gees and regardless of intent, as a fan of the 70s trio, I can only express how magnificent it is to hear a modernised interpretation of style that will once again permeate the zeitgeist.

The music video is one of the better modern visual accompaniments I’ve seen in a while with imagery that matches the music, tone, and dynamic of the song. As with many modern music videos, strobe lighting plays a role so if you’re affected by epilepsy, it would be advisable to stick to the music itself.

Sacrifice is musically gritty before becoming fully realised with a sound signature that reminds me of The Jacksons (think songs such as Torture, State Of Shock, and This Place Hotel (a.k.a. Heartbreak Hotel). Of course, Sacrifice is the song that is most similar in vocal presentation to Michael Jackson’s Off The Wall and Thriller era recordings as well. It’s a great song and if, like me, you’re thinking that you’ve heard this rhythm before it may be that you’ve heard Alicia Myers’ I Want To Thank You as it was sampled for Sacrifice; a wise decision if you ask me. 

The music video adequately highlights the transitional life process alluded to throughout  the concept album and its connection to the Take My Breath music video is overarching storytelling magic. 

A Tale By Quincy isn’t a song, but a spoken reflection by the great Quincy Jones. While I applaud the inclusion and meaning behind it, it breaks up the album to a distracting extent. Yes, it signifies a changing of style for the second half of Dawn FM is mellower than the first half of the album, but I’d argue that it creates too much uncertainty in the listener’s mind.

Out Of Time is a lovely modern ballad. Jim Carey returns as the DJ towards the end of the song and while it isn’t detrimental, I would argue that it would have been so much better without the vocal DJ radio talk. Of course, it fits with the overall transitional feel of the concept album, but let’s just hope that an alternate version, featuring only the song, is eventually released for Out Of Time is worthy of such independence. 

As you listen to that backbeat that The Weeknd’s song is built on, you may be unaware that it is another sample, this time from Tomoko Aran’s 1983 release Midnight Pretenders; a magnificent song in its own right! 

Here We Go… Again (feat. Tyler, The Creator) is a solid song, but there is too much vocal processing applied for my liking. 

Best Friends has a solid rhythm that connects perfectly with your soul and while the vocal approach is similar to that of Here We Go… Again, Best Friends sounds far more natural thereby allowing the listener to simply appreciate the song without questioning its production.

Is There Someone Else? segues fluidly from Best Friends but I’d suggest that it didn’t need to be seamless. My reason is that it creates a sonic shift towards the end of the Best Friends thereby making it frustrating to play on repeat or add to a playlist. That said, the more I listen to Dawn FM the more I have to acknowledge that this is an album that isn’t a collection of songs, but a collective single work of musical art; the very definition of a concept album.

Starry Eyes flows beautifully from Is There Someone Else? and is a sonic masterpiece. The mix is perfect, the mastering is superb, and The Weeknd is so present that you’ll feel as if he’s in the room with you. 

Every Angel Is Terrifying had promise, but the spoken direction of the song simply doesn’t appeal to me. It also shifts, musically, too much in the middle of the song. It’s filler, lacking in substance.

Don’t Break My Heart is unassuming in style and while it may not push the boundaries, sometimes a solid tune is all that is needed for Don’t Break My Heart is a lovely song. 

I Heard You’re Married (feat. Lil Wayne) has a great synth-pop hook and gets better upon each listen. I mention that because initially, I had felt the song was a little weak. Perhaps I was expecting more from a song featuring Lil Wayne, but when you take the time to listen to it repeatedly, the song unpacks itself and becomes a must-listen. That said, I can’t help but think that I Heard You’re Married would have been stronger without Lil Wayne’s contribution. 

Less Than Zero is what I consider to be the closing song on Dawn FM as Phantom Regret By Jim closes out the faux radio programming aspect of the album. Less Than Zero is simply stunning although the ending is a little too abrupt and a fade-out would have been appreciated. 

Phantom Regret By Jim is a solid poetical closer to this concept album. Some will love it but others will loath it as they’re left wanting more from The Weeknd. There is no doubt in my mind that this style of album will be contentious amongst fans but there is also no doubt that Dawn FM is an experiential moment in and of itself and Phantom Regret By Jim is part of that experience. 

So, is Dawn FM The Weeknd’s greatest release thus far? Yes, and no. Gasoline is most certainly the memorable track as Blinding Lights was from After Hours, but as a cohesive album experience from start to finish, After Hours is much more fluid. While I acknowledge the concept album style, and appreciate it for what it is, it still creates a somewhat disjointed musical experience whereby up to A Tale By Quincy, I would have considered Dawn FM to be amongst the best albums of 2022. As it stands, it’s a notable mention, most certainly, but I would love to see an edition released that highlights the songs sans the faux radio programming. 

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RÜFÜS DU SOL – Surrender (Album Review)

Electronic music isn’t my first love, but RÜFÜS DU SOL’s Surrender, released in 2021, goes a long way to shifting that viewpoint for its house with a mix of alternative rock vibe connects with my soul in a way that I wasn’t expecting. Surrender is uplifting, relaxing, but most importantly is an exceptional piece of musical art. 

Compared to their prior releases, Surrender is their most polished and overall tightest composition that expands their creativity to such an extent that Surrender is anything but predictable while remaining entirely familiar. Subsequently, it showcases a level of artistry that has evolved beyond core elements alone and sees RÜFÜS DU SOL further advance their unique sound that will continue to set them apart from their contemporaries.

Surrender is also their first album delivered in Dolby Atmos. Compared to the already immersive, and utterly impressive, stereo mix, the Dolby Atmos edition gives a fuller sound. If you’re using headphones, such as Apple’s AirPods Pro, you’ll thoroughly enjoy the experience over the standard stereo mix for you’ll feel enveloped in the music. That said, via speakers, I find the stereo mix is the stronger of the two so it comes down to how you like to listen to music. Perhaps the Dolby Atmos edition is best described as different, rather than better, but you’ll really notice the benefits of the surround mix on songs such as See You Again, On My Knees, and Surrender.

Next To Me has a masterful haunting piano opening that, remains central to the mix as the soundstage builds. It’s a stunning opener, but perhaps the greatest sense of imagery comes from the lyrics: 

And when the lights come down

I want to feel you standing next to me

As someone with two left feet, and therefore not a clubbing enthusiast, it would be easy to dismiss the meaning behind these lyrics, but in our modern era, where music is not as easily experienced in person, Next To Me reaches into your soul and when the beat drops you’ll feel the intended emotional elements.

Make It Happen is one of those unique love songs that many of us would long for; having found the one we love earlier in life if only to have spent more time in pure emotional bliss. Initially, the children’s choir approach to the chorus seemed a little campy, but the more I listen to Make It Happen, the more I see the innocence and intent in this style. Plus, it strangely works perfectly with the musicality that will have you moving involuntarily to the rhythm. 

See You Again has a sense of positivity that is needed in an uncertain world. The layering of music, while indicative of this form of musical art, is extraordinarily tight here with every element perfectly positioned, resulting in an immersive soundstage that will amaze you as it envelops you. 

I Don’t Wanna Leave has a slightly slower tempo compared to some of the other songs on the album, yet the authority of the music remains as it slowly builds. It may not instantly get the dance floor shaking, but will certainly be memorable as I Don’t Wanna Leave is one of the best songs on Surrender. 

Alive is a masterpiece, both musically and lyrically, and was rightfully the lead single from Surrender. It is one of those songs that allows the listener to decide how they choose to interpret meaning and while some may point to its moodier tone, I prefer to look at the positive aspects of the song acknowledging, all the while, that at least I’m alive. 

Alive (Reprise) is a lovely musical-only interlude. Is it necessary? Well, no, but if it were to open Side 2 of the upcoming vinyl counterpart, then it acts as a connective element.

On My Knees is gripping. The beat, the vocal aspects, the overall musicality, will get you moving even if you’re, a little more reserved like I am, meaning that On My Knees is not only an exceptional song but one of the best by RÜFÜS DU SOL and one that will be, in my opinion, a landmark track in the alternate dance genre as it’s an evolution of the art. 

Wildfire is an interesting song that never really arrives, despite the slow build. It is intentional, no doubt, but does it work? Subjectively, I don’t think so, but your opinion may likely differ. 

Surrender is incredibly multi-layered and takes a few listens to connect with the song beyond its backbeat. It’s beautiful and perfectly suited as the title track and as it slowly builds, the listener is taken on a journey that can only be described as a genesis moment. 

Devotion isn’t a bad tune but I’d class it as album filler as it’s somewhat predictable and doesn’t forge new ground. 

Always is the culmination of all that has come before and, as the closing track, it encourages me to listen to Surrender again. As with many songs on the album, the concept is based on despondency but as the song builds it delivers a sense of hope. Given the times at which this album was recorded, and the world it enters into upon its release, this is the kind of message that we all need more than ever before.  

Surrender is so addictive that I can’t help but put it on repeat. I want more, yet the 53-minute runtime is absolutely perfect ensuring that I leave the album feeling rejoiced, empowered, and relaxed. If the aim of music is to allow music-lovers to feel emotion, then the trio that is RÜFÜS DU SOL have transcended themselves on Surrender to achieve that very result. 

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Kacey Musgraves – star-crossed (Album Review)

star-crossed, Kacey Musgraves’ fifth studio album, explores introspection through the lived experience; a consistent theme in her music that is relevant and relatable to all of us. Her modern interpretation of Country Music continues to amaze, for star-crossed traverses numerous musical divides, sometimes simultaneously, to deliver an immersive selection of music that has a country origin while remaining easily accessible to modern music lovers.

Listening to the Apple Music lossless 24-bit 48kHz stream, star-crossed sounds simply stunning with a broad soundstage that is well-defined and enveloping, but nothing could have prepared me for the Dolby Atmos presentation via the AirPods Pro. Stunning would be an understatement and in many respects, it’s modern recordings where Dolby Atmos truly shines; where the concept of the technology was approached from the get-go rather than simply remixing existing recordings. Regardless, if you have the opportunity to listen to the Atmos stream, I would highly recommend it as the music becomes borderless and while the stereo soundstage was already impressive, I much prefer the envelopment that is offered via the Atmos stream. 

Yes, the argument could be made that there is a little too much vocal processing applied throughout, but once you get past that aspect, and appreciate star-crossed for what it is, that element somewhat disappears as you become drawn to the musicianship and musicality.

One aspect that I’m not sold on, however, is the album artwork. I get what the imagery is trying to present, but after the exquisite, and aesthetically pleasing, artwork that adorns Golden Hour this new artwork is a letdown and is a deterrent to picking up the album on vinyl; thankfully the Apple Music stream is so sonically pure that it is more than I will ever need to experience star-crossed.

star-crossed is the perfect song to open the album as it sets the scene for the songs that are to follow. The vocal harmony is out-of-this-world, as is the Spanish guitar, and the slow build in tempo and musical depth is nothing short of pure perfection. 

good wife sees me move involuntarily to the groove. It’s a wonderful exploration of the pressures we put ourselves under to be the other person, in every relationship, and to meet often unspoken, but implied, expectations. While this is Musgraves own personal journey, her writing is relatable. 

cherry blossom has a cheerful musical tone, despite the slightly more sombre lyrical significance. While my body moves involuntarily to the rhythm, when listening to cherry blossom, I find it to be a little too treble focused and would love to have seen a smoother presentation with a focus on the midrange.

simple times is head-bopping and toe-tapping bliss and is a perfect song for our current times. As much as our social and technological advancements have been a blessing, especially with recent worldwide events, I too wish for the simpler time I once knew. 

if this was a movie.. isn’t my favourite song on the album, but is compelling in a way that I simply can’t articulate. That said, I love the life imitating art comparison.

justified is a great tune that I could listen to on repeat indefinitely. It’s catchy and I’ve no doubt you’ll find yourself singing along to the chorus; I know I did. 

angel is simply beautiful.

breadwinner has an addictive rhythm with a catchy chorus that will appeal to many as it can be seen as a precursor to avoiding relationships with the wrong person.

camera roll has a vocal presentation that sounds eerily familiar; yet, I’m at a loss to explain the correlation. Regardless, camera roll is beautifully mellow and sits perfectly within the flow of the album. Lyrically, camera roll is a masterpiece. We’ve all been there, reflecting on our past, yet unable to move on at that moment. Musgraves absolutely nails it and while the song is presented literally, sometimes that’s what’s required as meaning tends to get lost if written in metaphors alone. 

easier said is a solid tune, but arguably isn’t as strong as the other songs on the album. That said, it doesn't sound out-of-place either and the more you listen to star-crossed the more it grows on you.

hookup scene has a stripped-down, near-acoustic, sound but the vocal distortion remains; especially apparent on headphones. In this instance, I would have loved to have heard Musgraves, with guitar, in her natural, unaltered, singing voice as I feel it would have had far more emotion. That said, the meaning of hookup scene is fantastic and reminds me of the meaning behind the song Love the One You're With. 

keep lookin’ up is a killer tune, especially the Atmos mix with the backing vocals being presented as disembodied souls throughout the surround mix. Plus, the guitar surrounding you is simply something you have to experience firsthand. Magical! 

what doesn’t kill me isn’t the strongest song on star-crossed; it’s album filler, despite fitting in musically to the overall style of the record.

there is a light gets your body moving involuntarily and is one of the best songs on the album with a positive vibe that showcases that darkness won’t last forever. 

gracias a la vida is a classic tune, but it feels out-of-place on star-crossed. That said, it isn’t too much of a deterrent and I find that star-crossed can be easily appreciated on repeat listens. Of course, if you have a chance, take a listen to the original from Violeta Parra; a lovely recording in its own right but Musgraves’ modern interpretation is more emotionally charged thereby making it my preferred version. 

Despite obvious clichés in the lyrics throughout, star-crossed is an incredible album and while the lossless stereo edition is spectacular, star-crossed is simply magical via Dolby Atmos as it takes the album to another level, and doesn’t simply add surround effects for the sake of it. While it would be easy to look at star-crossed as being a sombre album, especially considering its context, I consider it to be a reawakening that rejuvenates the individual’s soul and one album that can appeal to everyone for it examines when things don’t necessarily go the way we’d like; a lovely contrast to our modern, outwardly positive, public personas. 

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