With its immediate chart success, use of artistic music videos, and a recent single cover already making BBC Radio 1’s Live Lounge, The Weeknd’s latest album Starboy seems to have made a huge impression on the music industry.
Released on Friday, the R&B singer’s third studio album, immediately catapulted to the number one spot in charts spanning 80 countries.
The stars of Allied, Brad Pitt and Marion Cotillard, are preposterously beautiful people. It’s not fair, to be honest.
Place these two actors in any scene, and their presence can be somewhat show-stealing.
Not so in director Robert Zemeckis’ Allied, a film that from the start has a decidedly old-fashioned feel – in the best possible way. Both Pitt and Cotillard are classic movie stars, of a kind that is too rare these days. The movie itself has a somewhat timeless aura to it, often feeling as though Allied could have been filmed at any time over the past 60 years, apart from the odd modern flourish that Zemeckis brings to the screen.
That’s not to say Bobby Gillespie and Co. have ever been content just to keep things the way they are. Over the course of 11 albums and almost three decades, the Glaswegian band has been defined by a willingness to reach out and experiment with new and exciting sounds. Even so, it’s just nice to think that Primal Scream will always be Primal Scream, regardless of what new or exciting sounds they choose to explore.
Monday night in Usher Hall saw the legendary Scottish band amongst a home crowd, so anticipation was high.
The Grand Tour opens with a woeful scene as Jeremy Clarkson makes his way to a London Airport. News reports are conveniently edited together with the grey British weather in an attempt to create a sense of misery regarding the BBC’s decision to drop Clarkson and his band of merry men.
As Clarkson finds himself in LA, he switches from the modest black cab to an extravagant Mustang. Much of the episode is spent giving the middle finger to his former employer and this switch from gloom to sunshine, whilst being serenaded by the dulcet tones of Hothouse Flowers, serves as overkill.
This opening sequence alone is said to have cost over three million pounds to produce and while overly lavish, does set a tone for the new series.
A story of three middle class, white, British men freed from the shackles of the BBC and free to be as racist, sexist and politically incoherent as they like. The three men drive off into the sunset and are joined by armies of fans on a variety of vehicles in the open desert.
With the new album’s release on Friday, the Hawaiian harmoniser is out with yet another funky single that is sure to get you grooving. Following suit from the previous jams such as, ‘24K Magic’ and ‘Versace on the Floor’, the new song indulges us into a romanticised old-skool aura with classic R&B sounds. The only thing that mattered back then was the size of your girls’ backside. Opening with a short synth-solo, we are instantly greeted by the classic Mars voice and a nostalgic, Rapper’s Delight-esque bassline. As the tune increases in party-rhythm, we are led into a chorus melody not dissimilar from past-hit ‘Treasure’. The song may not make it to party-anthem territory, but it is definitely one to tap your toes and cruise with your crew to.
John Mayer- Love on the Weekend
Mayer the Player has been toying with his social media followers all week with the repeated announcement of this song dropping. This single is the first we’ve heard of the mega-guitarist since his acclaimed stab at Country in 2013 (not counting his cover of Beyonce’s ‘XO’). The ‘Your Body is a Wonderland’ singer is back to his usual ways with his new single, well almost. The drum-tempo and guitar-strumming sounds like classic Mayer, however his vocal melody and production have remnants of his Country-exploration. Mixing the two genres is far from a bad thing as the romance song is a tranquil piece that reminds you that after 15 years of making music, Mayer has still got it. His seventh album is definitely one to look out for.