10 Worst Albums of 2017

You’ll be happy, or sad, to know that this list is the last negative one to drop all year though all that means is that the team are gonna blow their collective loads over the worst music we’ve been subjected to all year.

Of course, this is entirely subjective and if you find any joy from the below albums then we’re glad you did: we didn’t. If you do have any grievances with our choices then you know where to send them so let’s batter on, shall we?

10. Wonderful Wonderful
by The Killers

If you’re familiar with The Killers, you might know that they have released their first album in five years in 2017. If you’re not, you might have not even noticed they were gone. Wonderful Wonderful picks up as if they never left, neither improving nor maturing upon their last effort, Battle BornWonderful Wonderful does not act as an improvement in The Killers’ discography, but instead, plays the same formula they’ve been following for the past 13 years.

Wonderful Wonderful would have sounded better had it been released in 2013, back when Get Lucky by Daft Punk was the biggest song in the world. Maybe then, The Man could have stood as a decent radio single. Almost every element of Wonderful Wonderful sounds incredibly stale in the current genre of indie rock. Making songs like Rut, fueled by frontman Brandon Flowers’s distress with trying to help his wife’s PTSD condition, feel passionless. Like Rut, most of the songs off Wonderful Wonderful try to sound like the grand stadium-closer track that electrifies the crowd and instead sound like the deep cut off their new album that nobody knows the words too.

The Killers lack a certain element that makes their songs sound as grand as they want them to sound. What made songs on Hot Fuss sound as exciting and fresh as they did at the time, and endless revisable as they do today, has been poorly executed throughout their following studio albums. Wonderful Wonderful, not acting as an exception, but further proving the point that The Killers are not as great as you would like them to be. – Ryan Martin (@ryanmartin182)

FULL REVIEW HERE

9. Going Grey 
by The Front Bottoms

The Front Bottoms have been one of the biggest stars of the underground indie community of this decade. Originating as a duo of simple acoustic power chords, provocative lyrics, and catchy melodies, TFB have managed to retain their dedicated fan base since the release of their self-titled 6 years ago. Surely, fans must expect the raw, emotional, amateur sound of the early releases to evolve and mature over time.

This was hinted at with 2015’s Back On Top, which incorporated a fuller and more mainstream sound to what fans were used to expecting from the New Jersey duo. TFB’s latest, Going Grey, takes a strong lead into the direction Back On Top foreshadowed. With heavy synths, trap hi-hats, and minor use of the acoustic guitar, it’s leaving day one fans scratching their heads.

Going Grey plays front to back much less like an album but more as a collection of songs. There are too many skippable songs for an 11-track record and not enough heartfelt moments for it to even feel like a Front Bottoms record. The only consistent element throughout TFB’s discography is the vocal range that Sella has kept throughout the years. It’s the only thing that still feels in place about the band but also sounds so out of place when backed by a sound that sounds desperate for radio play. 

Going Grey may have added more elements, instruments, and layers to TFB’s early minimalistic approach, and there are definite highlights to be found in Vacation Town, but the result sounds less like an evolved, matured version of the band than a sell-out, cheapened version. – Ryan Martin (@ryanmartin182)

FULL REVIEW HERE

8. Reputation
by Taylor Swift

When following up a successful record, 2 of an artist’s main goals should be not to repeat what they did on their previous LP, and for this progression to make the new record better as a result. However, on new album Reputation, Taylor Swift did neither of these things.

In short, her tacky new trap sound found on roughly half of the record’s tracks (…Ready For It?) was so hideous that it saw insufferable lead single Look What You Made Me Dovoted as Blinkclyro’s worst track of the year. On top of this, Swift made the bizarre decision to unsubtly write all her beef into her music for the first time, literally beating listeners over the head with the knowledge of how detestably petty she is.

To be fair, there were 2 excellent tracks on Reputation: Getaway Car and New Year’s Day. The only problem? Getaway Car sounds exactly like what Swift did on 1989 and New Year’s Day is a bizarre hark back to her Speak Now days.

The risks she took on Reputation flopped just about as badly as they could have, and anything good about the record heard her merely repeating what she’d done before. – Andrew Barr (@weeandreww)

FULL REVIEW HERE

7. Low In Highschool
by Morrissey

Not since Breaking Bad can we recall the descent of a man quite like Morrissey: starting off in one of the most iconic bands of the 20th century, the quiffy man seems unable to close his big mouth and as he’s got older, the more he starts to resemble UKIP’s key demographic.

This bleeds into his latest album Low In Highschool, a record full of idiotic choices in terms of instrumentals & production (Spent The Day In Bed) to the idotic appraisal of war mongerers while…criticising warmongerers (Israel)?

The question of separating the art from the artist has come up time and time again this year but this Morrisey LP goes to show how near impossible it is to do so: it’s an insult to your brain as well as your ears. – Liam Menzies (@blnkclyr)

6. Memories…Do Not Open
by The Chainsmokers

A wise man once said: The Chainsmokers are the musical equivalent of those weird twenty-year-old guys studying photography in college who message sixteen-year-old girls stating they’re “fascinated by their minds lol xD”. That man is Josh Adams and he owes me a fiver, so if you see him, break his legs.

Memories…Do Not Open is enough to make me feel the anguish those who regularly slate chart music must feel as they exclude themselves from pop bangers: unfortunately, said bangers will not be found in this album. On all levels apart from physical, this album is sheer shite.

If you’ve ever heard an EDM song in your entire life then not only will you get deja-vu but you’ll get the unshakeable feeling that you’re witnessing a murder scene as this duo show off the drained remains of anything that could be considered “a tune”. In addition to the lacklustre production, the attempts of singing on this record are utterly laughable: Break Up Every Night is the manifestation of everything bad about this LP, featuring some of the poorest vocals to be put into an album all year along with some of the worst lyrics I’ve ever heard in my life;

She wants to break up every night / Then tries to fuck me back to life

“She got seven personalities, everyone’s a tragedy.”

If their name is anything to go by then it’s only a matter of time until The Chainsmokers quit the cigarettes, pick up a vape, lose their cool cred and fade into obscurity like they should have after that dreadful selfie song.  – Liam Menzies (@blnkclyr)

5. SCUM
by RAT BOY

Finally dropping their debut album SCUM, the album everyone wanted in 2015, Rat Boy added to the pile of mediocre indie rock to populate the British music scene. The only unique thing each track has is a different band or artist to rip off; think of any significant British act in the past 30 years and no doubt rat boy will have mimicked them with abysmal results on their debut album.

Any potential that the band had is buried in their influences and their desire for popularity has produced a safe and tedious effort that brings nothing fresh to the table at all. Even older songs such as Left 4 Dead have been butchered to death for the studio album and all the energy that the band could have had is replaced with cringe-worthy lyrics, forced themes and forgettable instrumentals.

Oh and if for some reason you actually still want to listen to this PLEASE don’t listen to the deluxe version; it has these radio “skits” that are just awful and make the entire thing even worse (if you can imagine that). – Ethan Woodford (@human_dis4ster)

FULL REVIEW HERE

4. As You Were
by Liam Gallagher

If there’s one positive thing I can say about Liam Gallagher, it’s that he’s got the marketing game down to an absolute tee: amassing a cult following thanks to his trademark Twitter ramblings, exposing a new age of fans to his erratic behaviour, it’s definitely helped him get back on his feet after the disaster that was Beady Eye and his media portrayal over the past few years.

That being said; why is his debut LP so painfully dull? I will admit that it was a clever move to get Greg Kurstin of Adele production fame on board to allow his songs to mutate into some earworms but there are delightful earworms and then there are the terminal ones that are injecting some sort of toxin into your membrane without you realising.

As stated, the biggest gripe I have with this album is just so by the numbers it is though unlike a coloring book, which provides some sort of vibrance, As You Were works with greys, dark greys and some slightly lighter shades of grey. – Liam Menzies (@blnkclyr)

FULL REVIEW HERE

3. Erratic Cinematic
by Gerry Cinnamon 

What can be said about this Scottish upstart that hasn’t been said already? Plenty, apparently. Everycunt and their dogs seem to love Gerry Cinnamon and his HASHTAGRELATABLE songs. To be fair to the lad, they do cover a plethora of topics. From getting drunk to taking drugs… to girls… to… taking drugs and getting drunk! Truly a poet of our times.

If I hadn’t made it abundantly clear, I hate Gerry Cinnamon’s music and especially his latest album Erratic Cinematic. I really, really do. It’s the exact opposite of what I would choose to listen to regularly, but I saw Twitter ranting and raving about this man and his guitar, so I lamented and had a wee listen. This was all after I seen his “Legendary” set at TRNSMT festival this year, which I absolutely fucking hated every second of. But I thought it was only fair to give his studio album a wee try, see what the craic was.

I have now decided to never be fair again because honestly and truly, this is one of the worst albums I’ve heard in years. I’ve been known to be hyperbolic from time to time, but I genuinely mean it. It’s so bad that I can’t bring myself to listen to it again. Just listen to Sometimes and Belter and if any part of you enjoys it, let me know so I can entirely block you from my life.

The only slightly redeeming quality of this album is Gerry’s vocals, which are fine. But on record, they sound like they were recorded when he was trapped in a fridge that’s orbiting Jupiter. So tinny and manufactured sounding. To be honest the entire album was recorded piss poorly.

Who knows, maybe if Gerry stumbles into an actual working studio one day, he might do a Jake Bugg and end up maturing into a decent artist, but for the moment this is by the numbers, utterly forgettable, “for the people” lad-folk that will leave a bad taste in the mouth of any self-respecting music fan. – Jake Cordiner (@jjjjaketh)

2. Pacific Daydream
by Weezer

When I listened to Pacific Daydream, Weezer’s 11th(!) studio album, I wasn’t angry or even disappointed, I was sad. Genuinely, actually sad. Coming off of 2014’s return to form Everything Will Be Alright In The End and 2016’s genuinely fantastic White Album, it was a great time to be a Weezer fan.

They’d gone back to the halcyon days of masterpieces Blue Album and Pinkerton and seemed to have abandoned the overly poppy sheen that saturated albums like Raditude or Red Album. Weezer were doing the impossible, they were winning back the fans they’d lost, and convincingly at that.

Then, earlier this year, they dropped Feels Like Summer, the lead single from Pacific Daydream, and everyone started to worry. This wasn’t Weezer. This was the disgusting, mutated love child of modern Fall Out Boy and naughties Weezer, and it wasn’t even as good as either of them. Transparent, nothing backing vocals. A jaunty wee piano line. Shite lead vocals from the more often than mot serviceable Rivers Cuomo. What the fuck was this? More importantly, why the fuck was this?

They stopped trying, Weezer stopped giving a fucking shit. I don’t know if Rivers and the lads just decided they were bored of writing actual good power pop and decided to just completely pull the rug from underneath all of the OG fans who thought it was safe to go back into the Weezer-infested water for a laugh. I cannot wrap my head around it.

The whole album is just like Feels Like Summer; boring, bland as you like pop-rock. Mexican Fender is a bit catchy, but it just sounds like a song they knew wasn’t good enough for White Album. I’m getting all fired up now so I’m away for a lie-down. I expect a written apology from Weezer for this abomination, and FAST. – Jake Cordiner (@jjjjaketh)

1. Divide
by Ed Sheeran

Ed Sheeran is a confusing man. Whilst he seems like a genuinely nice guy, his music is so bland and vanilla you’ve forgotten what the song sounds like before it finishes.

Despite the fact it was wholesomely boring, Shape of You seemed to be one of the biggest tracks of 2017, capitalising on a clearly large market of heterosexual couples who enjoy missionary sex, chicken kormas and racially abusing train guards after two mulled wines at the Christmas market.

Can you remember what Barcelona sounds like? Bet you thought Dive was on the last album, didn’t you? Whilst Multiply had a few choice cuts on it, Divide saw the ginger guitar grandmaster dive deeper into milquetoast music for people who just don’t care about what they listen to.

25465932_10154978412625811_384883043_n
“You know I had to do it to Ed”

Agree? Disagree? Let us know what you think either in the comments below or beef us over on our Twitter (@blinkclyro).

10 Worst Songs of 2017

Last year our disdain seemed to be focussed on right-wing racists, a newly elected tangerine and a bucket load of celebrity deaths. 2017 changed this big time by…well nothing has really changed bar celebrities becoming dead to us rather than six feet under. Another thing that has remained rather consistent is the amount of horrible music we’ve been graced (?) with. Of course, there have been plenty of amazing tunes that still give us faith in the art form but there’s a lot that have done the complete opposite – 10 to be exact. So without further ado, here’s our tight and rage-fuelled list that had us reaching for the skip button… 

10. Arcade Fire – Chemistry

https://www.youtube.com/watch?v=bh87aqB-0KU

One part ska, one part reggae, Chemistry is the epitome of influence overriding a song: popping up around halfway through Arcade Fire‘s Everything Now, the track seems set to ruin any enjoyment that the listener may have been having up till this point with its stomach-churning mesh of influences.

There’s a line on one of the weakest cuts off the band’s new LP, though they’re not hard to come by, where Win Butler chimes about dancing “with your boyfriend all night long, tell him that you really, really love his song“: if the tune in mind happened to be Chemistry then I get the feeling the partner in question would be saying it through gritted teeth. – Liam Menzies (@blnkclyr)

9. G Eazy – Him & I (Ft. Halsey)

https://www.youtube.com/watch?v=SA7AIQw-7Ms

Like a bargain bin (03) Bonnie & Clyde, Gregory Eazy, and Halsey have linked up on what is, in my opinion, one of the single worst songs released in 2017.

We’ve been absolutely blessed when it comes to quality music this year, artists like Charli XCX, Tove Lo, Dua Lipa, Carly Rae Jepsen and Sigrid especially keeping pop music interesting and catchy as fuck. Leave it to Halsey and G-Eazy to buck this trend. This is lazy pop-rap at it’s worst. An uninspired hook from Halsey, a sleep-inducing beat from whatever factory it was shat out of and, bluntly, G-Eazy cannot rap to save his life. He’s awful, and I cannot for the life of me fathom how he’s gotten as popular as he is. An utter, utter mystery.

If, for some weird reason, you want to listen to a pop star and a rapper collaborate, here’s a list of better songs than this: Kendrick Lamar & Rhianna – LOYALTY. Eminem and Dido – Stan. 2pac and Elton John – Ghetto Gospel. Katy Perry and Kanye West – ET. Francis and the Lights and Chance, The Rapper – May I Have This Dance?. Estelle and Kanye West – American Boy. I could go on, but I won’t because I imagine you get the idea.

In short, stop supporting G-Eazy because he’s bad and stop supporting Halsey because she’s trash. Toodle pip! – Jake Cordiner (@jjjjaketh)

8. Liam Payne – Strip That Down

https://www.youtube.com/watch?v=vSW2M-BB1NE

Before one of you indie fucks hits out with the “well Liam Payne was in One Direction, of course his debut single is gonna suck“, I have two things to say to you: 1) Harry StylesSign Of The Times and 2) you’re sadly right about this tune being god awful.

With a beat that sounds like the regurgitated remains of Iggy Azalea’s Fancy, Strip That Down feels like it’s constantly trying too hard to be explicit and cool: Quavo is big right now? Let’s chuck him in. People remember me as the teen from that boy band? Let’s talk about how into sex I am! I love sex! I always tell the ladies I’m gonna bring the Payne!

The biggest offence of Strip Me Down is just how boring it is: Payne’s vocals, while not terrible, are so devoid of any charm or notable trait that you’ll probably find yourself drifting off throughout it, stripped down into your jammies. – LM

7. Liam Gallagher – Wall Of Glass

https://www.youtube.com/watch?v=YdJc7-ZEuT0

Liam Gallagher‘s act is wearing a bit thin; middle-aged man takes pot shots at people & things, including his brother on Twitter and everyone laughs. Wall of Glass, the lead single from his roundly underwhelming solo effort, As You Were,  was wearing thin whilst it was going through the mixing desk.

Not even Greg Kurstin, wonder pop producer could shake this nightmare awake. One of the worst things about this track is the whiny lead guitar: lead guitar should scream, this groans. The lyrical theme leaves the ears wanting and the delivery sounds like an old Manc dad trying to sing Oasis after 15 pints of Carling.

Just because Liam Gallagher can, doesn’t mean he should; Beady Eye were wholesomely underwhelming, and As You Were was largely disappointing. If you’re going to do something like this, whole arse it, instead of half arsing it and letting your reputation build the hype. – Oliver Butler (@notoliverbutler)

6. Kasabian – You’re In Love With A Psycho

https://www.youtube.com/watch?v=kimPUWSwxIs

Remember that unholy trio of Kasabian, Empire & West Ryder Pauper Lunatic Asylum? Those three albums were chock full of choice tracks, and sure Velociraptor had its moments, 48:13 was… different, and by the time we got to For Crying Out Loud, Serge’s beans had been blown and he was gasping for air.

You’re In Love With a Psycho feels like a band trying to write a Kasabian song, and missing the mark. Further to the point, in 2017, where so many musicians have talked so openly about mental health issues, with several losing their lives as a result, are the lyrics wholly appropriate?

This song is representative of the whole album; there’s nothing overwhelmingly bad about it, but it’s wholesomely forgettable. Drunk you can take the wheel to songs like L.S.F and Fire, sober you is struggling to work out who took lead vocals on You’re In Love With a Psycho. – OB

5. The Chainsmokers & Coldplay – Something Just Like This

https://www.youtube.com/watch?v=FM7MFYoylVs

The epitome of shallow, vapid, soulless corporate pop concocted by the musical equivalent of those weird twenty-year-old guys studying photography in college who message sixteen-year-old girls stating they’re “fascinated by their minds lol xD”. The only hint that Coldplay actually features on the track is courtesy of the reliably beige Chris Martin, whose ham-fisted piano playing and whiny, strained vocals somehow never go out of fucking fashion, unlike the EDM drops and synthesisers that plague this smash hit that died a death back in 2014.

Listening to Something Just Like This is a bit like blow-torching your nipples on some form of incredibly powerful hallucinogenic drug – you think it’s a bit of harmless fun, but in reality, the experience is painful, unrewarding, and worrying for anybody around you. – Josh Adams (@jxshadams)

4. KSI – Creature

https://www.youtube.com/watch?v=CkUu7GBuxkk

It’s the end of 2017 and KSI is still a thing, unfortunately. He is still insistent on making a name for himself a grime artist despite no one over the age of 14 asking for it. Making his big “comeback” with Creature, KSI claims he has “been doing a lot of learning” but whatever he learnt it wasn’t either how to write a decent verse or deliver it with any sincerity.

The lyrics range from unbelievably stupid to outright hypocritical such as his claim that his “only advice is to love and forgive” despite having proven himself multiple times this year to be insensitive towards mental health issues and publicly body shaming a fellow YouTuber.

His flow is choppy and awkward as always, so much so the only three or four lines he delivers well in the second verse he actually repeats, assumably to save himself any further embarrassment. Creature can be filed along with the myriads of other evidence that YouTubers should not assume themselves to be musicians. – Ethan Woodford (@human_dis4ster)

3. Jake Paul – Everyday Bro

https://www.youtube.com/watch?v=hSlb1ezRqfA

A truly abysmal, laughable attempt at hip-hop. An abomination. To be fair, it’s hard to decide whether this entire track was conceived as some sort of joke – a Socratic self-aware parody of privileged white kids on the internet, perhaps. If so, the joke is very much on us.

Through an inexplicable series of events, it reached #3 on iTunes despite being written in a day, not to mention achieving widespread infamy for its obnoxious lyrics and its dull, uninspired beat. Jake Paul was no doubt laughing all the way to the bank, however – safe in the knowledge that unleashing this festering turd of a song would augment his already considerable paycheck (rumoured to be in the region of “10 with six zeros“).

Attempting to critically analyse the track’s content is a waste of time as most of the lyrics revolve around petty beef with fellow YouTubers, such as the equally insufferable PewDiePie, as well as boasting of their social media success. Some particularly cringe-inducing lines from the Team 10 arsenal includes the opening line of Jake’s first verse, “I Usain Bolt and run, catch me at game one”, and Tessa Brooks’ baffling diatribe about Alissa Violet: “I’m flyin’ like a drone / They buying like a loan”. Not to be outdone, Nick Crompton’s mercifully short-lived verse sees him rhyming “shitty” with “litty” and announces that “England is my city”.

Pitbull? Eat yer heart out. Utter shambles. – Kieran Cannon (@kiercannon)

2. Ed Sheeran – Galway Girl

https://www.youtube.com/watch?v=87gWaABqGYs

Not many things annoy me more than people who are not rappers, trying to rap. Which is why Galway Girl by Ed Sheeran has earned its rightful place on this list.

Amazingly, the lyrics manage to feel clunky and out of place, but also painfully predictable. The combination of folk music, cheesy Irish stereotypes and the cheerful beat, come together to create a song that everyone either seems to love or despise. Although Sheeran’s recent album was one of the highest selling of the year, Galway Girl is not only incredibly overplayed but also the most cringe-worthy song to come out of 2017.

Initially, I could handle it, but the constant hoard of drunk people on nights out attempting to rap along must come to an end.  – Isabella McHardy (@isabellamchardy)

1. Taylor Swift – Look What You Made Me Do

https://www.youtube.com/watch?v=3tmd-ClpJxA

It will come as little surprise to anyone (who’s not called Josh Adams) that Taylor Swift’s comeback single Look What You Made Me Do has been chosen as blinkclyro’s worst track of 2017. Before this track’s release, it would be fair to say that Swift was an artist unlikely to win any personality contests, however, she largely kept her undesirable public persona out of her music, until the release of the lead single from reputation.

Look What You Made Me Do may be the pettiest track that someone of Swift’s stature has ever released, not so much referencing but revelling in some of her pettiest beefs, which everyone but Swift seems to have moved on from. Astonishingly, however, the lyrics aren’t the worst part of the track by a long shot. Swift abandoned her sugary pop landscape for a cheap, generic trap beat which she lands on top of like a monkey on ice – for parts of the track, her vocal delivery ventures into a form of rapping which can’t be described as any better than sickening.

After all this slating, we haven’t even got into the chorus yet: it literally consists of Swift speaking the track’s title monotonously with the cadence of I’m Too Sexy (For My Shirt). Yes, it’s that bad. Finally, if you can make it through that voicemail message without wanting to vomit everything you’ve ever eaten, you’re a stronger person than I’ll ever be. – Andrew Barr (@weeandreww)

Album Review: As You Were by Liam Gallagher

By RKID OB x (@notoliverbutler)rating 3

For those of you under the age of 20, Liam Gallagher is not just a wacky old man on Twitter and someone your dad has shrine to in his shed, he was once the front-man of Oasis, who were at one point, one of the biggest bands in the world. However, times change, middle-aged men spend hours of their lives slagging off their siblings on Twitter, and now Liam Gallagher has brought his first true solo record, titled As You Were, something he frequently signs his indecipherable tweets off with. Also “LG x“, for some reason, despite the fact that yes, this man is in his mid-forties.

The way that Oasis worked, and worked so well, kind of, for like three and a bit albums, was that Noel Gallagher wrote the songs, and Liam was the swaggering lout with a tambourine that sung them. This proved incredibly fruitful, with the band selling over 50,000,000 records, despite everything past Be Here Now failing to even get within spitting distance of its predecessors.

You couldn’t even argue that As You Were is an Oasis b-sides album, because The Masterplan was actually an album that had some substance and some of Oasis’ best tracks. This is probably an Oasis f-sides album, ‘f’ meaning ‘fucking awful’.

The album actually gets off to a promising start, Wall of Glass feels like an Oasis track, with the bluesy harmonica intro setting up a wall of guitar (ha! Geddit?), and actually, produces a decent vocal performance from LG x himself, using his familiar rasp to give a classic vibe to it. Clearly recruiting pop superstar Adele’s producer Greg Kurstin was a savvy move to help the ageing saviour of guitar music, to give it that pop-polish. Can you imagine the diatribes that we’d be subject to on Twitter had Noel picked up a pop producer? Twitter would buckle under its own weight. Wall of Glass is a pretty good song though, for those who’ve enjoyed keeping up with the Gallagdashians, this would have just squeaked onto b-sides compilation The Masterplan. Same applies to the slow-jammin’ Paper Crown, which again feels like a classic Oasis ballad, but not quite the prime cut of beef. More a rump steak than filet mingon.


After Wall of Glass and Paper Crown, it doesn’t really pick up; Bold doesn’t feel bold. It feels more italic, fading into nothingness. There’s a vague apology to the scores of people he’s pissed off with the slow, ballad-y For What It’s Worth, perhaps teeing up yet more speculation that Oasis will reunite, with the surprisingly self-aware lyric “In my defense all my intentions were good, and heaven holds a place somewhere for the misunderstood”. 

Lyrically on the whole, however, this album has all the depth of The Very Hungry Caterpillar and none of the excitement. Take for instance “I am a dark star, I fuel a race car” on the airy, poppy It Doesn’t Have To Be That Way as one prime cut of lyrical fucking excellence, literally just naming songs he’s heard on You Better Run ““Angels, gimme shelter, cause I’m about to fall, it’s all gone helter-skelter, which can only add fuel to the theory that Liam Gallagher finds his lyrics by arranging those word fridge magnets you get for kids. This also takes into account that LG x tapped up pop songwriter Andrew Wyatt to help him write this album, and yet we get Noel’s brother reading out his Spotify daily mix to us.

Then again, if LG x had written a ‘grown up’ album, nobody would know what to do. The whole of Oasis’ legacy is built on Definitely Maybe (What’s The Story) Morning Glory? and the cocksure swaggering, lager swilling and fist swinging presence of their frequently AWOL frontman. This brazen, brash & bullish approach to rock ‘n’ roll meant they could get 250,000 people to show up at Knebworth for a concert. But this album is a victim of its frontman’s success and the hype he builds. The mere suggestion of an Oasis reuinon is enough to get tongues wagging and pulses racing, dreaming of the day the two Gallagher boys occupy the same stage. How could you have written anything besides an Oasis-esque album? Writing a ‘radio-friendly’ album would have caused millions of familiar cagoule enthusiasts to accuse their messiah of selling out, but this album ultimately fails to live up to expectation from a man who’s frequently regarded as one of the finest frontmen of all time.

But that’s the way it is. Unless Oasis re-united and wrote another stone-cold classic like they did in the early nineties, everything will fall by the wayside. Whilst there’s nothing special about this album, nothing worth writing home about and nothing to force you to pull it off the shelf and shove it in your ears, it is indeed a victim of its own hype.

Still, the Twitter diatribes are always golden.

As you were.