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<\/a>\u201cHello Heaven, Hello\u201d
\n\u201c\u2018Hello Heaven, Hello\u2019 is the overture to Idols. This was the last song that came. Originally, the album started with \u2018Idols Pt. I\u2019 and it wasn\u2019t good enough yet. It was a nine out of 10 and I was like, \u2018We need a spectacle. We need a prelude.\u2019 It\u2019s the bridge between the past and now: It\u2019s how we arrive at people understanding why I made this album. I start frail and afraid. It\u2019s like, \u2018Hello. Are you out there? Do you know me? Do you love me? Do you hate me?\u2019 Every time I\u2019m on stage, I see the negative people who don\u2019t like me, right in front of me.\u201d<\/p>\n
\u201cIdols Pt. I\u201d
\n\u201cThis song is about me being a kid and having ambition and dreams. We used to play as kings, queens, rock stars, and nurses, but then we rationalize everything and let our light go out. The whole concept of the album is it\u2019s not an homage to my idols, it\u2019s actually me turning away from them. We recorded the album in a haunted old Tetley\u2019s brewery in Leeds [about 35 miles from YUNGBLUD\u2019s birthplace, Doncaster]. I had no issues with the ghosts, I made friends with them. There\u2019s actually one moment in this song where it goes [mimics woo-like ghost sound], and that\u2019s unexplainable.\u201d<\/p>\n
\u201cLovesick Lullaby\u201d
\n\u201cI always wanted to do Britpop in eyeliner\u2014I was obsessed with Trent Reznor [Nine Inch Nails] and Brian Molko [Placebo], then The Stone Roses and Oasis. Here, I set up the listener going like, \u2018This song\u2019s a party.\u2019 Before you know it, that pint of lager that you\u2019re holding as you bop your head is up in the air and you\u2019re jumping up and down. The biggest thing I\u2019ve learned with writing is that I\u2019ve always told the listener what the song\u2019s about, so I wanted to make this more ambiguous. And I wanted to set up the idea that this album is going to twist and turn through multiple genres because that\u2019s who I am.\u201d<\/p>\n
\u201cZombie\u201d
\n\u201cI\u2019ve had this song for five years. This was the album that I wanted to do, but I don\u2019t think I was ready for it. \u2018Zombie\u2019 is about being afraid to turn to others for help. The fear of being a burden. The fear of appearing weak or ugly. For the video, I wanted to do a direct portrayal of what a nurse goes through, because we take them for granted\u2014they\u2019re so understaffed and underfunded, and the NHS [National Health Service] is a bedrock for why our country is great. I needed to find a great British artist who could carry that story with truth and authenticity. That was Florence Pugh. I think she\u2019s our best export at the minute.\u201d<\/p>\n
\u201cThe Greatest Parade\u201d
\n\u201cThis was one of the emotionally hardest songs to write, along with \u2018Change,\u2019 so that\u2019s why they\u2019re both in the middle. I would see people outgrow YUNGBLUD or be mean on the internet, but I felt stagnated in my growth because I never had time to make an album like this. I never had time to stop. You write with songwriters, what happens is seven different people a week have an opinion of what you should do next. Everything\u2019s great because they want a cut. Mediocre art can fly because you made it. Fuck that.\u201d<\/p>\n
\u201cChange\u201d
\n\u201cThe reason why I put this in the middle is because if I didn\u2019t call the album Idols, I would have called it \u2018Change.\u2019 This has been the biggest transition point of my life and this song was the fundamental moment that I really faced myself and realized that I was not right. I think, being a \u2018famous\u2019 rock star, when you go into a recording session, people hang on your every word. But when Mati (Schwartz, longtime collaborator) and I are writing together, he\u2019ll say, \u2018No, you can do better than that.\u2019 This was written before \u2018Hello Heaven, Hello.\u2019 It was midnight, and he\u2019s like, \u2018You\u2019ve not let me see you yet.\u2019 It\u2019s about the words that I let get to me.\u201d<\/p>\n
\u201cMonday Murder\u201d
\n\u201c\u2018Monday Murder\u2019 is about apathy. It\u2019s about everything going on in the world and the lack of unity and coexistence. We\u2019d rather judge than accept and we\u2019d rather fight than live in peace. It\u2019s about how we watch the world go by instead of looking at each other and celebrating our differences. We wake up and we compare ourselves to 15 different people before we even have our breakfast. I love having a fucking dinner party debate. That doesn\u2019t mean I love you less as a person if your political agenda or views are different to mine. You\u2019re going to teach me something, I\u2019m going to teach you something.\u201d<\/p>\n
\u201cGhosts\u201d
\n\u201cThis is probably my favorite song to sing on the album because I can\u2019t believe it\u2019s mine. It\u2019s the hardest vocal in the world, but I really wanted to show off my vocals on this album. Lewis Capaldi said to me, \u2018Stop fucking rapping. Fucking sing on this album.\u2019 Again, this one just poured out of me. I\u2019m standing at the edge of my mountain with war drums ready to charge. It\u2019s about realizing your own mortality on the banks of the River Thames after a night out at six in the morning. It felt like a stadium-rock song, but I wanted to push the boundaries of imagination, so I was like, \u2018Do you remember The King and I?\u2019 Then I added the three-minute outro.\u201d<\/p>\n
\u201cFire\u201d
\n\u201c\u2018Fire\u2019 is about sex and aggression and that feeling you get when you\u2019re about to be punched in the face or about to be taken into a bedroom. I was really wanting to explore my sexual side\u2014I think that\u2019s why my whole album campaign\u2019s been topless. At 27, I feel comfortable as a man now and I really wanted to feel that sense of adrenaline with this record. It\u2019s about sex and fighting and animalistic humanity: the fundamentals of why we feel anything at all. Why do we love, why do we hate, why do we fight, why do we fuck?\u201d<\/p>\n
\u201cWar\u201d
\n\u201cThis is about people trying to dim my light. I\u2019ve always been too \u2018this\u2019 or too \u2018that,\u2019 or people wish I would have stayed in one place. I\u2019m so emotional, I\u2019m so raw, and I\u2019m so gushy. I wish I could be something else, but I just can\u2019t. It\u2019s been this dichotomy within me to be what the world wants me to be. This is also about that feeling when you become forgotten by somebody. You meant so much to me, but you forgot me so quickly. It\u2019s hard to deal with.\u201d<\/p>\n
\u201cIdols Pt. II\u201d
\n\u201cThis is a little reminder of what the album\u2019s about. It\u2019s where the protagonist\u2014you, me\u2014this is where we start to win. After everything, after all the war, after all the internal struggle, after all the change, after all the rejection, after all the pain, we realize that only you will know what it\u2019s like to be alone in your own life. It solidifies the message of the album: you have to be the idol in your own life. Stop giving other people the credit. Which leads into \u2018Supermoon.\u2019\u201d<\/p>\n
\u201cSupermoon\u201d
\n\u201cThis is the first song I\u2019ve put out that I didn\u2019t write. Mati wrote this for me, and he kept it a secret for five years. He\u2019s been there since the beginning: He saw a 15-year-old kid come into his studio, who he kicked out because he had nothing to say. I came back a year later as YUNGBLUD. It was never a fucking character. I was a 19-year-old in pink socks from the north of England, pissed off about Brexit. That\u2019s how that monster was born. He saw the world love me and then tear me down. When he played me this, I thought, \u2018I don\u2019t believe a human being on this planet has understood me more than that man.\u2019\u201d<\/p>\n
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\u201cWould this be the album you would expect me to make next?\u201d Dominic Harrison, better known as perky pop punk YUNGBLUD, asks Apple Music. \u201cFuck no.\u201d Idols is an ambitious, swaggering affair, from the nine-minute-long opener \u201cHello Heaven, Hello\u201d to the heart-on-a-ripped-open-sleeve opus \u201cSupermoon.\u201d YUNGBLUD actually started making Idols, his fourth studio album, after his […]<\/p>\n","protected":false},"author":1,"featured_media":6278,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-6276","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-new-music"],"_links":{"self":[{"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=\/wp\/v2\/posts\/6276","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6276"}],"version-history":[{"count":1,"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=\/wp\/v2\/posts\/6276\/revisions"}],"predecessor-version":[{"id":6279,"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=\/wp\/v2\/posts\/6276\/revisions\/6279"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=\/wp\/v2\/media\/6278"}],"wp:attachment":[{"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6276"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6276"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/streamapse.com\/Magazine\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6276"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}