The Voice star Becky Hill gets personal on her second dance-infused album, while US stage and screen actor Ben Platt delves into queer love on his third record.
– Becky Hill – Believe Me Now?
Hill’s second album features her trademark mix of euphoric dance beats and sensitive and thoughtful lyrics, sung with such emotion they can break your heart while your feet keep dancing.
The title track Believe Me Now? – with Self Esteem – is a strong, empowering and very personal opener, showing the hurt of not being believed while encouraging other victims of sexual assaults to speak out.
The album features the catchy singles Side Effects (with Lewis Thompson), Disconnect (featuring Chase and Status), Outside Of Love and Never Be Alone (with Sonny Fodero) before closing with the anthemic Right Here.
There are 15 tracks and not a bad one among them but it’s not all dance floor bangers.
Hill shows a different side to her vocals during the romantic Man Of My Dreams which sits in the middle of Believe Me Now? and slows the pace temporarily without feeling in any way awkward.
Score: 9/10
(Review by Beverley Rouse)
– Twenty One Pilots – Clancy
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Grammy Award-winning US duo Twenty One Pilots revisit the sounds of their earlier records with Clancy, their seventh studio album.
The 13-track mix is steeped in the band’s multi-album lore which took hold during their fifth album Trench in 2018, on which frontman Tyler Joseph expressed his struggles with mental health, and Clancy’s self-reflective lyrics hail back to those themes.
Overcompensate opens the record with a moody feel and heavy drumming by Josh Dunn.
Backslide, Vignette and Routines In The Night feature lyrics about self-doubt which work against their fast tempo, upbeat vibes.
Joseph’s vocals are raw and stripped back in The Craving (Jenna’s Version) paying homage to his wife.
The spacey Lavish is strikingly different, featuring lyrics like “Sip a Capri-Sun like it’s Dom Perignon” to criticise the music industry.
Overall, Clancy’s narrative satisfies die-hard fans following the band’s lore and is catchy enough for listeners unaware of the back story.
Score: 7/10
(Review by Sarah Ping)
– Ben Platt – Honeymind
Ben Platt’s third studio album Honeymind is emotive, adopting an American country sound that seems to be making its way into mainstream music this summer.
All American Queen opens the album with an upbeat acoustic track and folksy, layered vocals that juxtapose American ideas of stereotypical masculinity with lyrics exploring growing up queer.
Right Kind Of Reckless is relaxed, with soft acoustic accompaniment and whimsical instrumentals complementing airy vocals to emphasise emotion.
Andrew is an emotionally charged track characterised by its raw sentiment, followed by Before I Knew You, which similarly uses slow instrumentals and sombre vocals with a low pitch and husky sound.
Platt’s rich voice stands out on Cherry On Top, a lively, radio-friendly track with midtempo instrumentals.
The country-folk sound continues with Treehouse and Show To Drop, tying in well with Platt’s honest, raw and poignant lyricism and giving the record stripped-back vulnerability.
Vocally Platt shines across the 13 tracks, which blend into one another giving it a dreamy feel.
The album’s slowing pace to reflect the music’s emotional journey causes it to struggle with energy, but Platt’s unique and powerful vocals carry this experimental record.
Score: 6/10
(Review by Carla Feric)
– Richard Hawley – In This City They Call You Love
Richard Hawley albums can feel like long-awaited visits to an old friend, and long-time fans will be thrilled to be reacquainted after the release of this excellent set.
The Hawley trademarks are all present and correct – the classic croon, lush instrumentation and adoring references to his home city of Sheffield, particularly its many rivers. The words City and Love are notably italicised on an album cover which features Hawley walking out of an underpass in front of Sheffield’s Grade II-listed Moore Street Substation.
There are plenty of other stylings mixed in as well – from the very start with a scratchy electronic intro of the modern murder ballad Two For His Heels, to the chugging rocker Deep Space.
Hear That Lonesome Whistle Blow is not a cover of the similarly named Hank Williams song but does showcase a strong country influence which makes its presence felt again on the gorgeous I’ll Never Get Over You.
Now eight solo studio albums removed from his time in Pulp and the Longpigs, Hawley continues to delight.
Score: 8/10
(Review by Tom White)
