#tenor range

By @thegoldenwall

So one thing I noticed is how Always You really is a favorite across all boards. I know we've gone over the discourse of it not being the sound that Louis wants to focus on and I completely agree, however I think it's important to note that he CAN make that sound and make it GOOD.

I do think it'd be a bonus to still have a song like that in future albums because it showcases his range sonically and gives the album a nice little twist, I remember how it took me and everyone I've watched by surprise.

Talking about sonic range, I was so pleasently surprised to read about Louis' involvement in the DMA's song "Cobracaine" because unlike the rest of their work, which is very guitar driven as we know Louis also favors, it has a really nice synth sound. I love knowing that Louis is very knowledgeable about so many different sounds and loves to drabble with them.

Note that Cobracaine is the last song, now I'm sure that it was their choice not Louis' but I find it interesting that, much like Only The Brave, the unexpected song comes at the end. I've always admired Louis' choice of tracklisting in Walls. I could honestly talk about it for days. I'll stick to the genius move that is putting Kill My Mind first and Only The Brave last.

Kill My Mind is quite literally a refreshing slap across the face and sets it in stone that this is who Louis is as a solo artist. It gets the attention it deserves and prepares you for the rest of the album by letting you know that you must leave any preconceived ideas at the door, thank you very much. It's also one of the most well produced songs on the album so it reiterates louis' overall professionalism.

Only The Brave being last is, again, another power move. Everything about that song makes me SO excited for what's to come and that's exactly what he intended so he totally nailed it. One of my favorite things about the song is also the production. Here again, I think the intention is different. I've seen some who thought it was a weak point and I respect that but I disagree because all it did, again, was make me SO curious. It sounds like it's on mono or an old record player and it suits both the lyrics and also plays in sobering the mood for the big finale.

Which, again like the very start of the album, takes you by surprise in how it ends abruptly. So you're left with this feeling of having gone through a complete and thorough musical journey with the added pinch of salt that is curiosity for more.

About production, I'm personally a big fan of songs that have these little quirks, like the background voices in Fearless, the overall sound of Only The Brave, the fade in Kill My Mind or the loop effect in Walls. I'd love to see more of that, and I'm sure I will if Jamie Hartmann stays for the ride.

Another thing I've seen a youtuber mention is the chords in most Walls songs. They're very "sweet" as he called them and explained how they have this satisfyingly complex but not over the top quality. He also gave an example by playing himself and let me tell you I spent that entire night dreaming of Louis playing his own songs now that he's back to learning the guitar. Louis has always put his lyrical foot forth, as he should, but I am overflowing with excitement to see him actually fully involved in the melodies, production and all that shebang.

We all know how clever he is creatively, so his stories coming to life not just in words that he wrote himself but tunes and production techniques as well is going to be so gratifying and intellectually stimulating to us, a fandom he cherishes for their intelligence.

Another thing is The Instruments. We know that he loves to make music that translates well to a live show and he did that so well with Kill My Mind, Fearless, Defenceless (those drums???? Hello !) even Don't Let It Break Your Heart (that background guitar at the end, could talk about her for days).

However I always felt a little sorry that the exact sound wasn't as prominent in the album. I know that it's at the root of what makes a studio version and a live version but I think my issue is with the slight over production that gives the album a bit of an overshine maybe? I'd love to See the organicity and slight roughness of the lives come through in the album as well. And maybe also have more time for guitar or drum solos (I mean the Michael's Fearless solo on stage? Hello!!!). They did do really well on the acoustic sounding songs like Too Young and Perfect Now though.

Lyrically I don't think I need to say much since his words speak for themselves, but maybe just let it be known that I am so eager to see all the concepts he wants to give life to as we know he's very outspoken about some social issues and loves to see them with other artists.

I'm more than ready to have more of his relatable gender neutral songs that sway so beautifully between being open to everyone and still guarding some mysteriousness that remains personal to him.

Also his many writing styles, Louis is a more direct story teller but he has leaned into the metaphorical and symbolical way of things at times, so it's exciting to think about all the other styles he might want to try out or just how he'll progress with those he masters.

Finally, I can't wait to see where he goes to vocally. It's no news to anyone that his voice is my favorite, could write sonnets about the silky raspy, clear and tough as glass voice of his, his range and his power, or simply the overall uniqueness of it. I was so elated to see him showcase all of that and more in Walls, I mean falsettos galore!!!! That was a sweet treat!!