Today some of our team at The Mic greeted new and old faces at the Freshers Fair. This might, then, be your first time checking out The Mic Recommends... series, and although a shorter selection than we're used to, packs a real punch. Welcome to The Mic, whether writing or observing, and enjoy immersing in one of Nottingham's creative communities.
Mel Made Me Do It – Stormzy
Stormzy’s new track Mel Made Me Do It truly is such a monumental moment in his insanely impressive career thus far; his return to releasing solo music has certainly not disappointed. Aside from the obvious success of the lyricism and exceptional beat within the track, the most commendable part of this entire project is the message behind it. From the very beginning, it is driven by such a sense of gratitude that the listener is unequivocally left feeling so in awe of every single thing Stormzy has achieved. Melissa Holdbrook-Akposoe (@melissaswardrobe), whom the title of the track is dedicated to, is finally receiving her overdue recognition from mainstream media outlets. Mel represents black British excellence, an important theme which is further explored and celebrated in the 10-minute-long music video. The entire video, directed by KLVDR, perfectly executes his lyrics in a visual form. Although the cinematics are very well done and the technicality of the production is fantastic, they do not distract from Stormzy’s lyrics. Around eight minutes into the music video, the viewer is faced with some incredibly influential British rappers such as Dave and Little Simz. Stormzy acknowledges their success on the rap scene in perhaps the most suitable and wonderful way: “And although sometimes we might be introvert, we are all alone in this together.” Overall, the track and music video accompanying it is some of Stormzy’s most compelling work. He has mastered using his art form in a way that challenges ignorance and privilege in all its many forms. This masterpiece will no doubt go down in history. Lottie Murray
All I Need To Hear – The 1975
The 1975’s Matty Healy isn’t one for sentiment: for a man whose immense ego is only equal to his immense sense of self-deprecation, his 80s synth pop tunes are often about drugs, heartbreak, or in his own words, “jacking off”. That hasn’t been the case so far however with this newest album, Being Funny In A Foreign Language - each song as sincere as can be, and their latest All I Need To Hear is (excuse the crudeness) truly caked in it. Recorded in one take, Healy laments the distance from his partner, before the song becomes a desperate plea for love, insincerity permitting. Bordering on a couple genres, I’d best describe the track as Phoebe Bridgers with a lounge-pop flair. AINTH never enters the realm of maximalist pop like most other 1975 songs do; in fact, it builds and swells into a beautiful bridge, with a light but emotional string accompaniment. The track almost feels like a ‘75 live lounge session, as if they’re reinventing Adele or Lewis Capaldi’s latest stadium ballad. That however seems to be the goal for Healy, stating that the songs creation was an attempt to make something that “sounds like a cover”. The song holds a real sense of restraint, each part trying to capture the timidness of Healy’s lyricism and vocal delivery. I’m a sucker for ad-libs, so their drummer George being asked to “do the high hats now” at the beginning of the 2nd verse makes the song feel truly alive. I sense this almost premium-garage-feel may be derived from the involvement of producer Jack Antinoff, who has spent the better part of 4 years reviving Taylor Swift’s acoustic career. He co-produced this track and subsequent album alongside The 1975’s traditional producer: themselves. But I think that’s the biggest thing about AINTH: the band have time and time again proven their ability to create good pop tunes, often with hints of sarcasm and animosity. But this tune is just brimming with sentimentality, it’s something quite foreign to the band, but given the album title maybe that’s the whole point. All this track has proven to me is that The 1975 can defy genre or convention all they like, but they are at their most impactful when dealing with their bread and butter, a damn good love song. Riley Backler
Toxic – Within Destruction
Eastern Europe’s best metalcore/deathcore export are back again with another banger, the techno-tinged Toxic. If you’re a fan of Electric Callboy, you’ll love this song, as it’s in the vein of their style but a little more anthemic and a little growlier. With a synth-led melody, a massive breakdown, and some drawn-out screams and shouts, the song is expertly mixing all sorts of different stylistic touches to make an awesome amalgamation of the sound of the band before, as well as what sounds like a very new take on their sound that will, I’m sure, vastly expand their listenership. The band have now released 5 singles in a row ahead of their album Lotus dropping this coming Friday, and they are touring across the UK shortly, so if you can catch them then please do! Jake Longhurst
Never Really Had You – Kid Kapichi
Choosing the least punk song on a punk album to review is usually regarded as silly. This is usually an entirely valid opinion to hold. However, Kid Kapichi aren’t usual. As punk bands go, they write some of the best emotional, mournful, plaintive and yearning songs I’ve heard in a long time, and this is another stellar effort in that department. Their new album Here’s What You Could’ve Won is an eclectic mix of tracks that mostly sit in punk, but Never Really Had You is a beautiful song about realising someone you loved didn’t quite feel the same, and the emotional turmoil of the realisation that, as the title suggests, you never really had them. However, it’s an ultimately hopeful song that is uplifting in its final message, saying that “I can see the light” and “I know I’ll be alright,” whilst still maintaining the fact you still care deeply about them. It’s a special song by a special band, and thoroughly worth listening to. Jake Longhurst
IM FINE – Royal & the Serpent
First things first: Royal & the Serpent are more than fine. They are extremely special. IM FINE serves as the initial taste of lead singer Ryan's appetising project, whereby a single will be released every Friday for five weeks. It is not tied by an album or EP, it is merely a diverse palette of what Royal & the Serpent are all about, and where they want to explore in their music. IM FINE is certainly their staple sound, yet mixed with an ethereal introduction that adds a delicacy we don't particularly associate with their sound or image as a band. It documents a journey of depression and self-doubt, something many of us, especially within our youth, can relate to and have probably asked similar questions to ourselves before. But the delicate vocals and soundscapes almost create a delusional image of Ryan, representing our anxieties with opening up about our fears and feelings. Royal & the Serpent portray both musically and visually what our self-saboteur sounds and looks like, but the power of music is the glue that sustains our 'fineness', as the title suggests. Roxann Yus
Edited by Roxann Yus
Cover image courtesy of Stormzy via Facebook.
Comentarios