I liked this a lot, despite assuming I wouldn’t. I’ve been gradually releasing that, alongside my experimental listenings becoming increasingly generic, I haven’t exactly been pushing myself recently. So here we go, here’s my take on ‘No More Idols’.
The first song, ‘No Problem’ is a really listenable one. Brilliantly put together around the hook ‘It’s no problem for me, it’s a problem for YOU’, it got me into the album brilliantly and gently offering me a foretaste of the attitude and general sound of the band. It’s good that whoever’s singing is taking a back seat too. The drops on the second track, ‘Fire In Your Eyes’ are astounding. Rushy build-ups and sheer drops are in brilliant contrast to the slow and relatively stripped-down bit in the middle that serves to reinforce the coming breakdown. I like this track and can imagine having a good stomp around to it!
An initially different, sing-y, slower-sounding beginning sets up the gradual speed-up of the beat until this is a full-blown ‘song’. It’s kind of annoying, the man singing on the top, to be honest. I like this song far less that the other two – if feels lazier lyrically and musically than the others. Quite an achievement, considering the first track’s consisted of one sentence. The next one, too, has a guest singer that feels like he doesn’t belong there. ‘Hypest Hype’ seems symptomatic of what I think the problem’s going to be with his album. The guest singer, in this case someone called Tempa T., always makes his or her presence felt, and it wrecks the music. The first song on the album, ‘No Problem’ i loved due to it being just Chase and Status. That can’t be said of any other track on this album other than ‘Hocus Pocus’, which is my personal favourite. Ok complaint over – the end of ‘Hypest Hype’ is actually quite good once they’ve got rid of the the ‘Soul Sistah’ that keeps trying to get involved.
‘Hitz’ is immediately likeable, although the assistance of Tinie Tempah adds a lot too. It’s an adrenaline-inducing number, another that I can imagine getting jiggy to. Lovely morsel of a lyric fron Mr. Tempah here: ‘She called me a chauvinist but she can’t even’t spell it’. ‘Heavy (Chase and Status vs. Dizzee Rascal)’ is perhaps the best fusion of talent on this album. Dizzee’s rapping actually makes the song so much better, but there’s still not enough Chase and Status in there. I want more power!
Those songs where C&S go in a more reggae direction, as in ‘Brixton Briefcase’ are really good too. More for the chilling, this one, but it has its whammier poundier moments. Another brilliant marriage of styles, with Cee Loo Green’s contribution bringing some reggae-soul influence to the table.
‘Hocus Pocus’, the only remaining C&S-only song on the album, is a corker. Rushy, bassy, and by far the standout for dubstep fans, it’s making me long to crank up the volume! Again, based around very few words, but with some really cool musical bells and whistles that work together in a pretty exhilarating way. It’s good, very good. Actual guitars start the next one, ‘Flashing Lights’, feat. Sub Focus and Takura Tendayi is as mediocre as fuck. The thing that I’ve decided I like about this album is that on most of the songs there’s a big ‘payoff moment’ – a drop, a breakdown, whatever. But on this one there isn’t one that’s good enough to justify the other bollocks on the track.. So it doesn’t count as a good song. That said, the payoff’s nearly good enough on this one.
The lads team up with White Lies on thisnext attempt, ‘Embrace’, and it sounds exactly like you’d expect it to. Not a good combination and NO PAYOFF. On a side note, this album can’t end quickly enough for me. I’m sick of it. I love the tracks ‘No Problem’ and ‘Hocus Pocus’ so far, and Dizz. and Temp. did ok, but this one’s shit. Feels like filler, and probably is. You can say the same about the next two songs, ‘Time’ (annoying collaboration from some rent-a-sassy bitch ‘singer’) and ‘Midnight Caller’ (slightly more arty version of same, with the word ‘lover’ pronounced lur-hur-vah).
The last one, though, is rather a rather interesting collaboration with Plan B. Bit more C&S than Plan B in this one, but then it turns out Plan B can perform in a supporting role pretty well. I think the difference is that they’re actually a good band. (Ignore all similar remarks in future).
So yeah, really good. Could have done with a few less songs – I bored of this quickly, despite the genuinely interesting mix of collaborations. Stoner rock review tomorrow.