In the wake of breaking up with his longtime girlfriend, FKA Twigs, and amid rumors of a contentious divorce from his equally famous wife, Jennifer, Johnny Depp’s son, Jack, has unveiled a whole new side to his music with his upcoming album, featuring collaborations with some of the biggest names in music.
The English musician, whose real name is Robert Pattinson, first rose to fame for his role in 2012’s The Hobbit film series (part of The Hobbit trilogy, which also stars Benedict Cumberbatch) as an elf named, you guessed it, Goblin Slayer. However, it was his extraordinary soundtrack that really made him famous. In fact, it turned out to be one of the most diverse soundtracks of all time, featuring appearances from the likes of Elbow, Sampson and the Weekes, and that’s not even counting the featured artists like the Weekes, who appear on a track by themselves under the title “When The Sun Goes Down.”
Now, with his new album, Pattinson has returned to his dark music roots. If we compare it to the sound of his past work, it’s like night and day. Gone are the days of the whimsical soundtrack and the jokey lyrics. No, this time, Pattinson has crafted an album that evokes the haunted atmosphere of a horror movie. In fact, the title alone, Midnight Sun, should give you some idea of what to expect.
Luminous And Vibrant
The English musician has always been a bit of a contradiction. On the one hand, he’s an incredibly talented and successful musician, with a string of platinum albums to his name. On the other, he’s often been labeled as the male version of a precious flower, the rose. (Yes, when he was younger, he used to wear a lot of petals in his hair, as if in a crown.)
While his first three albums featured some lighthearted lyrics and quirky melodies, he’s never been afraid to tackle dark themes, whether it was the depression that followed him throughout the Hobbit trilogy or the desperation of a modern-day Romeo and Juliet.
Now, with Midnight Sun, he’s fully embraced this darker side and brought the luminous and vibrant musical qualities that made his previous albums so special. It’s not just the production quality that’s increased either; the instrumentation and songwriting are both standout performances. In fact, the only thing that could possibly match these qualities would be the late, great Robert Plant’s iconic later-period Led Zeppelin albums. (Yes, Zeppelin IV is another one of his favorite albums.)
The reason why these two albums in particular stand out is due to their production values and how they sound. To put it lightly, the drums on these two albums blast. (Pattinson actually asked Zeppelin’s John Paul Jones to be the executive producer of his album.) The grooves are deep and the tom-tom work is phenomenal. So much so that it almost feels like the drums are playing in the room with you, rather than coming from a speaker. (The drumming even made its way into the film, in the form of a funky, percussive score by the internationally renowned film score composer, Ryuichi Sakamoto.)
Jones also helmed the string section on a few tracks, and it shows. The quality of the string quartets alone is enough to make the album worth a listen. They’re all played with such tension and heart, it’s obvious that a lot of effort went into creating these soundscapes. (Pattinson has also collaborated with several well-known classical composers, including the legendary German composer, Wolfgang Amadeus Mozart, who appears on a piece of music that pays homage to one of the most famous comic operas of all time, The Magic Flute.)
A Touch Of Evil
While the production of Midnight Sun was handled primarily by Pattinson, who worked with his usual team of producers (including his long-term collaborator, Cameron Mathison), they did enlist some help from outside the industry. The English musician brought in the Hungarian composer, Béla Fleck, for string orchestrations and arrangements. Fleck appears to have just edited and rearranged some of his own compositions, which gives the album a very eclectic and original sound. (You’ll also hear snippets of the Fleck-penned “Blue Sky” in the credits of the film, The House of Gucci.)
The keyboard work, which features prominently on the album, owes a lot to the pioneering work of jazz great, Dave Brubeck. While there are certainly nods to the legendary jazzman’s music in the arrangements for “I Don’t Care Anymore” and “Bad Penny Blues,” (the latter of which also features a sample from Brubeck’s 1956 classic, Time For Romance) the English musician has developed his own, unique voice. (And yes, there are a few other collaborations with some of the biggest names in jazz, including pianist, Herbie Hancock, who appears on a track called “I Want You To Know.”)
An Elemental Bond
While the production of Midnight Sun was handled primarily by Pattinson, who worked with his usual team of producers (including his long-term collaborator, Cameron Mathison), they did enlist some help from outside the industry. The English musician brought in the Hungarian composer, Béla Fleck, for string orchestrations and arrangements. Fleck appears to have just edited and rearranged some of his own compositions, which gives the album a very eclectic and original sound. (You’ll also hear snippets of the Fleck-penned “Blue Sky” in the credits of the film, The House of Gucci.)
The keyboard work, which features prominently on the album, owes a lot to the pioneering work of jazz great, Dave Brubeck. While there are certainly nods to the legendary jazzman’s music in the arrangements for “I Don’t Care Anymore” and “Bad Penny Blues,” (the latter of which also features a sample from Brubeck’s 1956 classic, Time For Romance) the English musician has developed his own, unique voice. (And yes, there are a few other collaborations with some of the biggest names in jazz, including pianist, Herbie Hancock, who appears on a track called “I Want You To Know.”)
A Different Perspective
Even with an incredible track record and a wealth of talent, there’s still something about the way that Johnny Depp’s children behave that irks the hell out of me. (Ok, that’s not true. There is something about Jack and FKA Twigs’ behavior that annoys the hell out of me. But it’s not their actual talent that I don’t like. It’s their entitled, bratty-type ways. Like expecting everyone in the room to go down on one knee when they walk in the room. Or acting like they’re doing the introductions at a wedding. Like they’re the best friends of the couple getting married. Like they’re giving away the bride. Like they’re an element to the scene. Like they’re the guest of honor. Like they’re Beyoncé and Jay-Z. Like they’re the only ones getting married.)
One would think that two young and seemingly successful people would have learned their lesson by now. (I mean, they’re not that different from when they were kids and used to act like little tyrants. Like ordering the biggest, fanciest ice-cream cake for themselves, when they knew perfectly well that the whole family was having a healthier snack. Ordering the silent treatment when their parents tried to explain there was no such thing as an acceptable reason to be upset or angry. Standing on the shoulders of giants and then asking, “Who is this artist and why should I care?”) They certainly seem to have learned their lesson. For the most part. (Not always. Aka, sometimes they don’t.)
But here’s the thing: they’re not that different from when they were kids. Especially considering what happened this past year. Especially considering how Pattinson’s entire social media team fell to his knees after he tweeted, “I’m so unbelievably grateful to you all for your support during such a trying time. This past year has been a real lesson in humility.” (There were literally dozens of replies. From friends and family, alike. All of whom wished Pattinson all the best in his future endeavors. And yes, a lot of people still talk about the incident, to this day. Especially the people who worked for him at the time. And they’re not alone, either.)