Tag: Fall Out Boy

Track of the Day: Lil Peep, iLoveMakonnen, Fall Out Boy – I’ve Been Waiting

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Lil Peep, iLoveMakonnen, Fall Out Boy – I’ve Been Waiting

One of the difficult things about digesting music in the way I do (largely following certain artists and playlists on Spotify) is that it’s perfectly possible to miss artists who you really should know more about. Lil Peep very much falls into that category.

Descriptions of his work fall between hip hop, rock and emo, three genres that I like a lot. Very sadly he passed away following an overdose in 2017. Before his passing, he’d stated that:

One of my favourite hip-hop artists is Makonnen. One of my favourite bands is Fall Out Boy. You put those two together and that’s Lil Peep [laughs].

In a posthumous release, we get to hear exactly what he meant. This is the first single from the forthcoming album Diamonds, a collaborative project between Lil Peep and ILoveMakonnen. In the case of I’ve Been Waiting,  it was recorded in the summer of 2017 before iLoveMakonnen invited Fall Out Boy to add their efforts to the track.

Whilst the collaboration would indicate a bit of a genre mashup – and I’ve always enjoyed music that falls between or extends beyond genres – I’d say this track falls outside of emo, hip hop and rock and firmly into the pop category.

It’s a summer song through and through, with breezy instrumentation and laid back vocals. I particularly like Patrick Stump’s vocals and the pre-chorus refrain from Lil Peep, which is just drawled vocals at their finest. In the back of my mind, I’ve Been Waiting reminds me a little of Future Islands.

Enjoy!

It’s Album Time: You Me At Six – Night People

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You Me At Six seem like nice lads. Having broken through in 2008 they’ve shifted away from their earlier Emo-laced sound into a sound that straddles rock, pop and pop punk. They interview well, have a loyal fan base and – with 2014’s Cavalier Youth, achieved a first number one album in the UK.

In a period when rock music in Britain has stagnated at the top – plenty of festivals that were previously rock’s purview have shifted towards dance and more credible pop acts, whilst nostalgic acts have often been preferred to up-and-coming acts – YMAS have successfully established themselves in the upper-middle tier of bands. Not quite main stage headliners, but top of the second stage or towards the end of the day on the main stage.

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Night People feels like YMAS’s pitch for promotion. Recorded in Nashville, Tennessee with producer Jacquire King (Kings of Leon, James Bay, Of Monsters and Men) it has the whiff of a band trying to sound grown-up. The title track opens the album and has a blues-infused guitar riff; an intended statement of intent with a sexy and seductive undercurrent, it ends up plodding along to its conclusion.

The album has plenty of smart guitar licks and radio-friendly influences. Brand New is the apple that hasn’t strayed too far from the Kings of Leon tree; Take on the World almost strays into Coldplay territory – euphoric lift in the middle and all – and Heavy Soul is cast from the Fall Out Boy mould.

But the album feels hollow. Whilst it comes in at a pithy 35 minutes – to be applauded! – It’s 35 minutes of inauthenticity. You can hear the desperation to be liked, the need to stay relevant, and – most tellingly – the burning desire to finally make it to headliner status.

The biggest tells are the constant ‘woooaah’s’ littered throughout the album and the sing-a-long choruses that accompany the band, irrespective of the style that has preceded it. However much they start to swim in a new direction, the big catchy chorus is the sound of them wading back to the land of familiarity and comfort.

The disappointment is magnified by the glimpses of what might have been. Listen carefully and you can hear a band who sound like they want to make a more menacing and darker album; Can’t Hold Back [chorus aside] and Spell It Out both demonstrate signs of a band with interesting ideas – the latter is my favourite on the record – and it’d be great to hear them ditch the pop-friendliness for an album and fully commit to the dark side.

There are many reasons I wanted to like this album. I want more British rock bands to succeed; I want ‘new’ music to be centre-stage at festivals and – as mentioned they seem like good guys. But Night People isn’t so much a change in direction as a panic-attack at a crossroads.

These Night People sound less likely to prowl the streets or hit a rave at 3am than to go out for a nice Italian meal with a couple of glasses of wine before rushing home to catch Match of the Day.