Dreams on Toast is the eighth album from English rockers The Darkness, and a new collection of nods to rock classics, with humor and unforgettable melodies. Relatively restrained by the band's standards, only a few tracks soar to new heights with energetic riffs. This is the case with the opening track, "Rock and Roll Party Cowboy", and the frenzied "I Hate Myself". "Mortal Dread" and "Walking Through Fire" recall AC/DC, while "The Longest Kiss" evokes Queen. The album is tempered by introspective tracks with moderate tempo ("Don't Need Sunshine"), cinematic moments ("Weekend in Rome" with actor Stephen Dorff) and even country-tinged pieces ("Hot on My Tail", "Cold Hearted Woman"). Despite a little humor, there's now a sense of maturity and creative evolution beginning to take hold of Justin Hawkins and his band, adding depth to their repertoire. Dreams of Toast is uneven and too short (33 minutes) but features several highly interesting moments that deserve our attention.

Music Video: « Rock and Roll Party Cowboy »

Lady Gaga returns to her roots for her seventh album, MAYHEM. She leaves behind her jazzy experiments, her Nashville explorations and her club-dancing impulses to return to a pop sound that characterizes her a little more. But she remains inventive, with a somewhat unstructured, avant-garde approach. Despite this, the album starts logically enough, with pop staples ("Disease", "Abracadabra", "Garden of Eden", "Perfect Celebrity", "Vanish Into You"), followed by love songs brimming with vulnerability at the end of the record, and concluding with the mega-hit "Die with a Smile" in a duet with Bruno Mars. Lady Gaga has already mentioned her industrial music influences (including Nine Inch Nails). This inspiration can be heard in the first half of the album, notably in "Disease", which officially marks a new departure for the singer. "Abracadabra" is one of the best songs in her catalog, an effective and creative dance track. The somber "Perfect Celebrity" is one of the album's many reflections on Lady Gaga's internal struggles. She injects a little funk into the mix, notably in "Vanish Into You", which could very well have featured on The Fame. "Killah", a collaboration with Gesaffelstein, recalls St. Vincent or Trent Reznor, taking on David Bowie and Prince. "Zombieboy" (named after the late dancer in her "Born This Way" video) introduces us to effortless pop anthems ("LoveDrug" and "Shadow of a Man") and midtempo tracks ("The Beast" and "Blade of Grass") on the second half of the album. While not as messy or tumultuous as its title suggests, MAYHEM is by no means subject to the rules of the pop universe. That's what makes this album such a breath of fresh air in Lady Gaga's catalog. (April 2025 Featured Review)

Music Videos: « Disease » - « Abracadabra »

With his sixth record, Hurry Up Tomorrow, The Weeknd potentially presents his final album. While much of the experimental R&B and futuristic pop produced by Abel Tesfaye during his rise to global stardom has been heavy, morose and fatalistic, a cloud of finality hangs heavily over Hurry Up Tomorrow. Nearly every song focuses on the rigors of stardom, being exhausted by the demands of touring, wanting out and ready to call it a day. In the throes of despair, The Weeknd takes every opportunity to let his audience know that this is the end. Fortunately, these depressing themes are wrapped up in the same brilliant production, making for a somewhat contradictory listening experience. The album's 84 minutes seem to deal endlessly with his life of opulence and luxury but Hurry Up Tomorrow is calculatingly paced with beautiful transitions between songs that make the whole coherent. The haunting sounds and darkly enchanting melodies of "Cry for Me" recall the artist's previous hits and quickly give way to the excellent Brazilian song "Sγo Paulo" (with Anitta). The moody ballad "Reflections Laughing" gains in intensity until it becomes a cinematic experience. The album's few lighter moments arrive with the rap of "Timeless" with Playboi Carti, the sunny pop of "Give Me Mercy" and a replica of Michael Jackson's "Thriller" groove in the second half of "Wake Me Up". Still, there's a little too much sadness to deal with as Tesfaye describes The Weeknd's metaphorical death from every angle. A Giorgio Moroder sample attempts to enliven "Big Sleep", but every moment of excitement melts into a much darker whole. Ultimately, Hurry Up Tomorrow achieves its goal of bringing The Weeknd's career to a ceremonious end. The execution is perfect, with impeccable production, but unfortunately stretches its dark side a little too far. (March 2025 Featured Review)

Music Videos: « Sao Paulo » - « Open Hearts » - « Cry for Me »

Franz Ferdinand have never been afraid to stray from the sound that made them famous, but the results have been mixed. The energetic pop and eerie piano ballads of You Could Have It So Much Better stand in stark contrast to their self-titled debut album of incisive post-punk rock. On The Human Fear, the band abandon any pretence of being cool in favour of melody and personality. The band worked with producer Mark Ralph, engineer on Right Thoughts, Right Words, Right Action, and The Human Fear is in keeping with the witty and often poignant songs on that album. After opening with "Audacious" (a tribute to Mott the Hoople's "All the Young Dudes"), "Everydaydreamer" is probably the album's standout track, setting an introspective tone, becoming darker on "Bar Lonely" a little later. When they return with danceable rhythms, they're still just as catchy 20 years on, but with an added touch of maturity. The other highlights of the album are "Hooked" and "Night or Day". "Tell Me I Should Stay" offers new experimentation with mellow reggae, echoing piano collage and Beach Boys-style choruses. "Black Eyelashes" is less successful, as Alex Kapranos reflects a little too much on his Greek heritage, incorporating Rebetiko influences and a resounding bouzouki. The Human Fear is a slightly more committed album than its predecessors, but at just 35 minutes, it feels incomplete, lacking a pair of memorable hits to make it a first-rate album. A respectable effort, but nothing more! (February 2025 Featured Review)

Music Videos: « Audacious » - « Night or Day »

Since the COVID-19 pandemic, Lucinda Williams has been offering a series of albums, Lu's Jukebox, themed collections in which she covers the work of an artist or songwriter. After the tribute to Tom Petty in 2021, she has presented five more volumes in this series, which is a bit special for a singer-songwriter of her calibre. Lucinda was 11 years old in 1964 when the Beatles made their US debut, which means she grew up with their music. Although her work, steeped in blues, country and folk, may not seem to have much to do with the Beatles, their writing style and taste for sonic experimentation have undoubtedly left their mark on her. So, Lucinda and her musicians went to London's Abbey Road studios, where the Beatles recorded most of their catalogue, and in three days produced this tribute to the legendary quartet. She leaves out their greatest hits and concentrates on less famous songs, although "Can't Buy Me Love" and "Something" are included. She brings a dirty Southern edge to tracks like "Don't Let Me Down", "I've Got a Feeling" and "Rain". Then she brings an endless sadness and bitterness to "I'm Looking Through You". "While My Guitar Gently Weeps" steals the show thanks to the guitars of Marc Ford (ex-Black Crowes) and Doug Pettibone. Lucinda's vocals are discreet on several songs, leaving all the space to her musicians and the Beatles' iconic work. "The Long and Winding Road" and "Let It Be" suffer somewhat from this, and she does them no justice. Her approach to the Beatles' music may not be universally appreciated, but her desire to pay tribute to this essential group in the history of music can only be applauded. (January 2025 Featured Review)

From Zero represents a comeback to record for Linkin Park after Chester Bennington's suicide in 2017. The band can now count on singer Emily Armstrong (Dead Sara), who, while not wearing Bennington's boots, fits in perfectly with the band's style thanks to her powerful voice. Three of the first four singles show a real return to their roots. "Heavy is the Crown" was an excellent calling card before "The Emptiness Machine" became one of the biggest rock hits of the year, an instant classic. As for "Two Faced", you can't help feeling that the band are simply copying their style from the past: there's a movement similar to "Figure 09", a riff and breakdown comparable to "One Step Closer", not to mention some scratches you've heard before. The rest of the album is far less exciting. "Over Each Other" is simply boring and doesn't fit in with the album's style, while many of the other tracks are just fillers on an album that's already too short (32 minutes). And although Emily is very solid (and original on 'IGYEIH'), she seems to be trying to imitate Bennington on several occasions, which inevitably brings back the comparison. In conclusion, From Zero leaves us wanting more. It wows us with its first two singles, which add admirably to Linkin Park's repertoire, but disappoints us thereafter, ending with a feeling of frustration. (December 2024 Featured Review)

Music Videos: « Heavy is the Crown » - « The Emptiness Machine » - « Over Each Other » - « Two Faced »