sound judgement

THE LATEST ALBUM RELEASES RATED AND REVIEWED

LUCY SPRAGGAN TODAY WAS A GOOD DAY ★★★★★

FORMER X Factor contestant Lucy Spraggan’s, storyteller style has progressed thanks to time and experience.

On her fifth album, the 27-year-old singer-songwriter is in a really great place, and this, combined with skilful songwriting and performing, makes for a joyful, listen.

The album is full of bops and singalong-friendly tracks, matched with lyrics about feeling better following mental health issues. Peppy opening track Breathe goes beyond just a nice guitar tune. Then there’s the cheekily-titled Don’t Play This On The Radio, a playful dig at not getting airplay over the years.

Stick The Kettle On with Scouting For Girls – released as a single to support Calm (the Campaign Against Living Miserably) – shows her deftly using her experiences to help others through music.

VAMPIRE WEEKEND

FATHER OF THE BRIDE ★★★★★

THE New Yorkers’ fourth album, rarely falters.

Running at 18 tracks, and bouncing frantically from genre to genre, Father Of The Bride is reminiscent of the White Album.

As with that Beatles triumph, Koenig and co now seem to be sitting more comfortably than ever within their own skin – as evidence, look to a trio of lovelorn country songs with Danielle Haim.

In perhaps the best run on the record, Sympathy, Sunflower and Flower Moon respectively glide through Ennio Morricone, ‘60s Psych and Afrobeat with a sleight of hand few others could match.

And while it perhaps lacks the instant classics of its predecessors, there’s plenty to capture the imagination.

EDITORS

THE BLANCK MASS SESSIONS ★★★★★

REPLACING guitars with synths, this eight-track offering is the alternative version of

Editors’ 2018 release Violence, with the group seemingly dipping their toes into the electronic scene. This is the result of producer Blanck Mass’s deconstruction of their usual sound.

Opener Barricades, explores their electronic side with punchy drum machines while Hallelujah (So Low) and Nothingness showcase Tom Smith’s strength of vocals.

At times, though, it feels as if the vocals and the production aren’t in perfect harmony. Fans hoping for something different from Editors can be encouraged by this release: although the companion album doesn’t quite reach the heights of the original, it is likely to go down well in venues and fields during the summer festival season.