Angels and Let Me Entertain You were overshadowed by critiques regarding Williams’s attempts to integrate into the Britpop scene. at Dingwalls,he surprised attendees by revealing that his new album would now debut in mid-February instead of October due to concerns about competing with Taylor Swift’s The life of a Showgirl . However,it unexpectedly dropped two weeks earlier in January—likely an effort to sidestep competition on music charts as he aims to match The beatles’ record for most UK #1 albums.
A Distinct Return to His Musical Roots?
The upcoming album presents an intriguing premise as it is characterized by Williams as “the record I always aspired to create after departing Take That,” celebrating what he refers to as “the golden age of British music.” Yet one might ponder why he feels compelled to revisit this era—a time when personal struggles with addiction and public scrutiny loomed large—unaware that success was just around the corner.
This could be interpreted as an act of closure; though, many argue that such closure was achieved when *angels* became one of UK radio’s most frequently played songs over subsequent years—a track so dominant it reportedly eclipsed “Wonderwall,” according to John Harris’s historical narrative *The Last Great British Music*. In fact, more listeners gravitated towards Williams’s later works than those anticipated by critics who believed artists like Symposium or Ultrasound would dominate late ’90s charts.
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…Robbie Williams – Spies – video
Navigating Nostalgia Through Fresh Sounds
The driving force behind this project appears clear; Williams seems convinced there are unresolved connections tied back to this sound from his past life within Take That; returning now with newfound confidence after selling over seventy-five million records globally grants him creative liberty—enlisting Black Sabbath guitarist Tony Iommi for opening track “Rocket.” While not every experiment resonates perfectly—the glam rock influences on “Cocky,” which feel more aligned with Oasis’ later work rather than their groundbreaking debut—it does succeed at times in evoking genuine nostalgia through tracks like “All My Life,” featuring vocal stylings reminiscent of Liam Gallagher’s recent solo endeavors.
“Spies,” another notable track reflecting on mid-’90s excesses captures sentiments akin to Gallagher’s own nostalgic reflections while maintaining fresh melodies that elevate them beyond mere imitation.
Diverse Tracks Addressing Contemporary Themes
The album continues surprising listeners with unexpected collaborations such as “Morrissey,” co-writen alongside Gary Barlow—a playful homage featuring subtly homoerotic undertones—and “It’s OK Till The Treatment Stops Working,” which channels classic British bubblegum pop influences reminiscent of chart-toppers from decades past yet feels oddly out-of-place today.
Additionally featured is “Human,” an ethereal electronic ballad exploring themes surrounding artificial intelligence featuring Mexican duo Jesse & Joy along with Coldplay’s chris Martin contributing guitar elements—an intriguing choice given how well-received previous collaborations have been within Latin markets where he’s notably popular.
While these tracks may stray far from customary Britpop roots they still manage engaging moments throughout their runtime despite lacking any single hit comparable enough against classics like angels or let Me Entertain You leaving listeners pondering if perhaps this truly represents what Robbie needed post-Take That—or if ultimately it’s best left unmade altogether!
This Week Alexis Listened To:
Daphni – Consult With Me
Dan Snaith returns under his dancefloor-focused alias conjuring hypnotic rhythms perfect for late-night escapades accompanied by visually stunning video content!
