ALBUM REVIEWS
“I’m what a rockstar looks like” were the words of a young and exuberant Master Peace, speaking to NME four years ago. It’s a statement that the London artist, born Peace Okezie, has since followed through on, bridging the worlds between rap, punk and indie through singles like 2019’s ‘Night Time’ and The Streets collaboration ‘Wrong Answers Only’. He now finds himself armed with a range of styles, which continue to seamlessly interchange in his music.
Mashing explosive beats with groovy guitar lines, ‘How To Make A Master Peace’ vibrates with energy from the get-go. Opener ‘Los Narcos’ channels the riffs and textures from The Hives’ heyday; later on, ‘Get Naughty!’ pairs bombastic production with call-and-response vocals.
The arrangements here are also defined by their basslines, which vary in pace and intensity, from low-key (‘Happiness Is Love’) to rhythmic and wickedly addictive (Georgia team-up ‘I Might Be Fake’). On the latter, layers of synths build a foundation for the track’s curveball of a chorus, making it the catchiest sing-along on the album. It’s a masterclass in organised chaos.
Okezie even ventures into pure pop territory on ‘Heaven’: ““Let me see paradise,” he sings, teasing a wave of euphoria before the track shifts towards an electro-house break. It makes for a real standout moment, while also cementing Okezie’s status as a burgeoning creative force.
ALBUM REVIEWS
Grandeur sits at the heart of ‘This Music May Contain Hope’, RAYE’s second album, and the result feels nothing short of breathtaking. On this record, the singer born Rachel Keen explores a wide spectrum of sounds across its 73 minute length, moving from emotional ballads to lively funk moments and the jazz pop style she has become closely associated with. It can feel overwhelming at first, yet the magic that comes from RAYE fully committing to her vision makes the experience rewarding from start to finish.
‘This Music May Contain Hope’, a conceptual project about pushing through insecurity and heartbreak, unfolds like a lavish stage production. RAYE takes on the dual role of main character and guiding voice throughout the story. “Allow me to set the scene. Our story begins at 2:27am on a rainy night in Paris. Cue the thunder,” she says during the opening track ‘Girl Under The Grey Cloud’, which arrives with sweeping orchestral strings. Spoken passages appear across the album, helping shape the narrative and giving the project a sense of direction, almost like hearing the official recording of a Broadway show.
With this framework in place, the South London artist allows herself to fully explore the album’s diverse musical palette, and most of the time it works in her favor. Sometimes she fully embraces the theatrical side of the concept, especially during the closing section of the smooth R&B track ‘The WhatsApp Shakespeare’. Other moments are delivered more straightforwardly, such as the emotional slow building ballad ‘I Know You’re Hurting’. She also revisits her earlier dance influences with the impressive house track ‘Life Boat’.
Across the entire album, two things stand out clearly. RAYE’s flexible vocals sound better than ever, and her songwriting feels sharper than it has before. Take the playful highlight ‘I Hate The Way I Look Today’, a swing jazz inspired track reminiscent of Ella Fitzgerald, where she admits “I’m okay to be lonely / If I’m lonely and skinny / I have such silly self-loathing thoughts, it seems”. Then there is the emotional storytelling in ‘Nightingale Lane’: “It was right there, early June / Next to Old Park Avenue / Standing in the rain, I watched him walk away”.
Despite all the vulnerability and emotional struggles explored throughout the record, RAYE ultimately reaches a place of optimism, staying true to the album’s title. She gathers her close friends on ‘Click Clack Symphony’ with support from Hans Zimmer, finds closure with guidance from Al Green on the smooth seventies soul inspired ‘Goodbye Henry’, and reaches toward something greater alongside her sisters Amma and Absolutely on the uplifting ‘Joy’ as she searches to be “free of all the pain and every fear”. After the stormy opening imagery of that “rainy night” and “thunder”, RAYE eventually realizes that “the sun exists behind the clouds”, as she shares on ‘Happier Times Ahead’.
‘This Music May Contain Hope’ shows RAYE performing at her absolute peak. The album feels huge in scale and emotionally powerful, yet it remains rooted in honest experiences and real feelings. Yes, it asks a lot from the listener, but that is also what makes it so special. Every dramatic moment and musical shift feels like RAYE claiming her independence and finally creating music entirely on her own terms.
