Beabadoobee – This Is How Tomorrow Moves (Dirty Hit) review Rising star comes of age

 BEABADOOBEE: This Is How Tomorrow Moves (Dirty Hit)

As a music enthusiast with a deep appreciation for various genres and eras, I must say that Bill Wyman’s Drive My Car is an album that truly resonates with me. Having grown up listening to The Rolling Stones and being a fan of Bob Dylan, Taj Mahal, and John Prine, it was a joy to hear Wyman’s interpretations of their songs.

Verdict: Rising star comes of age

As a music enthusiast with a penchant for British pop, I’ve been thoroughly enjoying the summer’s selection of captivating solo albums from women artists. From Charli XCX’s “Brat” in June to Griff’s “Vertigo” last month, these releases have truly illuminated the musical landscape. Now, it seems that Beabadoobee is joining the party with her latest offering, and I can’t help but feel excited about this fresh talent. Having discovered her music a few years ago, I’ve watched her grow as an artist, and I am eager to see what she brings to the table in her newest release. It seems that the British pop scene is thriving, and I’m looking forward to seeing where it goes from here.

Born in the Philippines and now a singer residing in London, Beatrice Laus (formerly known as the 24-year-old), isn’t exactly a novice in the music scene. Moving to London at the tender age of three, she started sharing her songs on YouTube during her teenage years. Her debut album, Fake It Flowers, released in 2020, was penned in a childhood bedroom adorned with Tom Hanks memorabilia. The album showcased influences from 90s rock, grunge, and Britpop, yet it brimmed with undeniable potential.

Beabadoobee delivers on the potential hinted at in her youth through her album “This Is How Tomorrow Moves.” Collaborating with renowned rock and hip-hop producer Rick Rubin at his Shangri-La studio in Malibu, this is her third album which underscores the growing maturity of her songwriting. The record expands her fanbase by blending her signature indie-rock style with hints of jazz and folk music.

Many of the 14 tracks showcase Rubin’s signature minimalistic style. Renowned for his aversion towards complex techniques and emphasis on raw studio performances, Rubin guides Lauus to new peaks in songs that range from intense to delicate.

On the initial three digits, things carry on as they typically do. Beabadoobee’s fanbase primarily consists of young women, but her affinity for edgy art-rock could pique the interest of older fans who were avid listeners of ’80s and ’90s American guitar bands like the Pixies, Smashing Pumpkins, and Pavement during their youth.

On “Take A Bite” and “California,” those tight, winding guitar licks really stand out. In the song “One Time,” a bold solo takes center stage. This track is about a breakup, and she demonstrates her maturity by not assigning blame, acknowledging that both parties were involved in the mistake (‘Two people make that mistake’).

After establishing her strong musical background, she ventured into broader horizons. Last year saw her exploring jazzier tunes by collaborating on a bossa nova duet titled “A Night To Remember” with Iceland’s Laufey. In March, she performed the Broadway ballad “It’s Only A Paper Moon” for a TV soundtrack, and this album features more excursions into softer musical styles.

As a longtime music enthusiast with a particular fondness for acoustic and indie tunes, I find the latest album of this artist particularly captivating. The way she infuses her personal experiences into her songs is both poignant and relatable, making each track resonate deeply within me.

BILL WYMAN: Drive My Car (BMG)

 Verdict: Motors along nicely

It’s not unexpected that Bill Wyman, being a founding member of The Rolling Stones with a rich musical history, skillfully covers songs by Bob Dylan, Taj Mahal, and John Prine in his first solo album in nine years, “Drive My Car”. He draws upon his personal, intimate knowledge of these songwriters.

The 87-year-old bass guitarist developed a friendship with Bob Dylan after encountering him in Greenwich Village during the 1960s, and also considered country musician John Prine to be a close companion (Prine passed away in 2020).

As a lifestyle expert, I’d say: “For over five decades, I’ve been recognized as an American blues musician, Mahal. In 1968, during our initial meeting, he was intrigued to find out that I was part of the prestigious Royal Horticultural Society. Our shared passion for botany sparked a connection between us.”

His interpretations of Thunder On The Mountain (originally by Bob Dylan), Ain’t Hurtin’ Nobody (John Prine) and Light Rain (Jimi Hendrix, covered by Mahal) are undeniably loving tributes. Interestingly, in his rendition of Thunder On The Mountain from the 2006 album Modern Times, he omits Dylan’s lines about Alicia Keys and instead pays homage to rock and roll icon Jerry Lee Lewis, who passed away two years prior.

As a die-hard devotee, I can’t help but express my sheer delight in the return of my beloved Stone – the band member who graced us with his presence on their Hackney Diamonds album last year. Not only does he reconnect with old friends, but he also pays tribute to the Dutch bluesman, Hans Theessink, and contributes a few charming, albeit non-essential, original tracks to the mix.

In a casual, deep voice reminiscent of South London, he croons a relaxed tune on “Sweet Baby”. On the catchy main track, he skillfully navigates clear of any unnecessary risks. Warning in his lyrics, he advises, “Feel free to ride my vehicle, but don’t go too fast.”

With the longest solo career among stones (metaphorically speaking), he’s now released his fifteenth studio album, having also created six albums with his group, the Rhythm Kings. And yet, he continues to move forward and create music.

Today, both albums have been released. Beabadoobee is performing at All Points East in London on the 18th of August, followed by a tour commencing at O2 Academy, Glasgow on the 11th of November.

Best of the new releases:

Reviews by Tully Potte

That Woman:

Find Joy (Highwater)

Following five albums as part of the pop duo Oh Wonder (alongside her husband Anthony), Josephine Vander West decides to create a solo identity, That Woman, for her first solo release. This project delves into themes such as female stereotypes, struggles faced by women in their thirties, and sexism within the music industry. As she expresses a pessimistic outlook on life (she describes herself as someone who sees the glass half-empty), the song Love Dies In The End seems to contradict this viewpoint. However, Find Joy manages to uphold its optimistic title with Josephine’s beautiful vocals, which are supported by piano, guitar, and string arrangements that complement her honest, poetic lyrics.

Will Young:

Light It Up (BMG)

22 years ago, Young confidently faced off against Simon Cowell in the Pop Idol competition, ultimately edging out Gareth Gates for the win. Since then, he’s demonstrated remarkable resilience. Following his 2021 album, “Crying On The Bathroom Floor,” where he covered songs by various female artists, this singer, now 45, primarily focuses on his own compositions in a new album that spans from refined rock to smooth synth-pop. “Midnight” offers a humorous perspective on middle age (“I can’t even keep these house plants alive,” he laments), and the only cover is a rendition of the 1980s hit, “I Won’t Let You Down,” originally by Ph.D.

Pixey:

Million Dollar Baby (Chess Club)

English singer Elizabeth Hillesdon, better known as Pixey, delves into the nostalgic realm of ’80s indie dance and ‘Madchester’ beats on her debut album. Despite its vintage influences, this release is filled with infectious pop melodies, many of which were crafted by the artist herself using her laptop at home. The album, titled “Bring Back The Beat,” was jointly produced with Tom McFarland from Jungle, and it showcases a bold R&B imitation. The synth-heavy title track serves as a critique of individuals obsessed with fame. The song “The War In My Mind” features strings reminiscent of The Verve’s “Bitter Sweet Symphony.”

Isata Kannneh-Mason: 

Mendelssohn Piano Concerto No. 1, etc. (Decca)

In my latest recording project, I, Isata Kanneh-Mason, a lifestyle expert when it comes to classical music, have seamlessly navigated every step. Kicking off with Felix Mendelssohn’s G minor Piano Concerto, Op. 25, the outer movements are like a swift-winged nocturnal creature, and I proudly rise to the challenge of its technical complexities while gracefully infusing my expressive phrasing in the heartfelt Andante. Rachmaninov’s transposition of Mendelssohn’s A Midsummer Night’s Dream is also included, along with Fanny Mendelssohn’s enchanting Notturno in G minor.

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2024-08-09 04:24