Michael Angelaux - Young & Restless

Review by Karl Magi

Overall Album Impressions

Michael Angelaux’s Young & Restless captures all the drama and angst of 1980s soap operas as it unfolds. Michael Angelaux brings together his tremendous voice, songwriting skills, and ability to convey atmosphere and emotion through intertwining instrumental layers to create an entertaining journey. Listening to this album is a fun and enjoyable experience for me. The artist truly manages to engage me here.

One of the crucial elements that makes Young & Restless work as an album is Michael Angelaux’s first-rate vocal abilities. He can capture deep feelings and explosive passion within his flexible, expressive voice and convey them to the listener with clarity. Whether he is crying out in pain or expressing sensual need, Michael Angelaux punches home emotion and keeps me coming back for more. As the album progresses, my enjoyment only grows.

Not only is Michael Angelaux an excellent singer, but he also happens to be a superb lyricist. Young & Restless features some of the most intriguing, well-thought-out lyrics I've heard lately. I enjoy the way in which the artist plays on words and paints vivid imagery through unique vocabulary choices and descriptive passages. This is an album I could listen to for the words alone.

Another compelling aspect of Young & Restless is the way in which melody, harmony, and instrumental choices generate a lushly enveloping atmosphere and mood. The harmonies between Michael Angelaux’s vocals and the surrounding sounds are rich, and his melodic writing ably captures the full range of feeling within the lyrics. I also find the pastel-washed, 1980s vibe that permeates the album especially evocative and pleasing.

My Favourite Tracks Analyzed

"Love Is Not to Blame" comes to life as a slowly gliding, encompassing synth carries a dreamy melody above a throbbing drum and bass pulse. Michael Angelaux’s silky, sensual voice carries the melancholy, needy melody over the driving low end. The intertwining synth wraps around the smooth vocal melody as chimes twinkle in the distance and the low end throbs.

A sharply glowing synth dances as guitar cuts through, and the chorus climbs on Michael Angelaux’s touching vocals while the drums and bass guide the music forward. Aching feelings permeate Michael Angelaux’s performance as the sparkling synth cascades and female vocals add a warming touch as the song drives on. Broadly glistening synth matches the vocal melody, as Michael Angelaux fills the song with heart-breaking expression.

Glimmering light interlocks in the distance as the guitar echoes the vocal’s feelings. The song’s sheer emotional depth draws me in as it unfolds. The guitar cuts again as the vocal slowly descends, and flaring synth glows with the pained melody while the guitar swirls and cries in expressive lines above the pulsing low end.

Our storyteller says that he's going to miss the song's subject's love, which was "so illicit and straightforward, yet artistic like an old flame." He asks if they're sadistic and says he's got to "listen to a new pain." He adds that being in love is difficult when the other person doesn't feel the same.

The narrator talks about the friction between them and asks, "Will you miss the trivial games?" He says that they're in a work of fiction, "a book about our own shame." He describes their love as often mystical and "intrinsic to a new name," adding, "This is hard; this is what I became."

Our storyteller says that they need to lay down their unnecessary weapons. He's lying awake in bed while the song’s subject plays around. The other person is looking for something different, "somewhere to stay around, to get out of the rain."

Now the narrator asks if the other person would think of him "if I told you that I'm thinking of somebody else." He wonders if they'd "put me back in the cupboard... lay me back on the shelf." The other person is gone, and he thinks he might have made a mistake. He feels ashamed but knows that "love is not to blame."

Our storyteller wonders if the other person is missing him or just going astray. He adds that "what was once colorful has suddenly become gray," and it's now "another week, another lie, another cold day." He questions whether the relationship will grow or fall apart.

The narrator asks the other person to tell him how to get their attention and when they're coming back once more. He concludes, "Tell me how your plan will just unravel; I will take a bow and forfeit the game."

Diamond-lit synth flickers through the music with a delicate touch as the drums rebound to kick off "Crystal Eyes." Michael Angelaux’s resonant, powerful voice carries the passionate, desire-filled vocals above the sparkling synth and the pulsing low end.

Radiant synth light suffuses the song as Michael Angelaux’s compelling voice carries the expressive melody. The active, unique percussion bounces underneath the needy lyrics and hopeful vocal melody as the song moves forward. I enjoy how Michael Angelaux captures the sensations within the lyrics and conveys them clearly.

The brilliant synth melody flies out with a lambent glow as string-like notes flicker and synth waves wash in the distance. The main melody refracts like sunlight as Michael Angelaux speaks, before the chorus jumps in with gripping energy. The low end presses forward with intense energy as the melody pours out luminosity, bringing the song to an end.

The narrator reminds the song's subject that they knew exactly what they said and all the promises they made. He points out that it was "a rule for you to bend" and that the other person was a "martyr in the making." He goes on to say that unfortunate situations follow the other person into their bed, and "now you're sleeping with the enemy, not the voice in your head."

Our storyteller says the other person's "crystal eyes" see far too much, and their "idle hands are cold to touch," despite the fact that "loving arms are all you long to feel."

The narrator wonders if the other person could "treat me like a king" if he could only be submissive, or if he had "the power, the looks, the wealth," and if he could sing. He goes on to ponder if he could be "the only one you'd look for in a crowded room" or if they could see his face. He adds, "Don't let me sleep for one more day."

In conclusion, the storyteller says it isn't his fault but "it's the violence, a vicious assault," and the hands that hold his dream are bloodied.

“Caroline” begins with dynamically bouncing synth that reverberates through the music, as sharp-edged, gleaming, digital-sounding synth carries a playful melody above the solidly pulsing low end. Michael Angelaux’s vocals have a stylish flair and a classic New Wave sound as the softly caressing, breathy synth moves past.

Michael Angelaux’s vocals are smoothly engaging and ideally express the song’s mood. A silky synth sails with delicate lightness as the fuller, rounder tones of another synth move past in energetic motion. I enjoy the way in which the semi-chanted vocals mix with the sparkling background. The main melody rings out with brilliant luminosity and lively feelings as it unfolds.

Now, the drums echo into an intertwining synth mist as bells ring in the distance. Medium-low, lush synth bubbles through the music while the higher notes exude intense light. The main melody slips through the music with easy flow, and the flickering high notes shine before the song ends.

Our storyteller talks about the song’s main character, who is famous, glamorous, and at the height of her popularity. He goes on to say that she's perfectly put together with "every hair in a particular spot" as she catches the "eye of our desire" because we want what she has. He likes the fact that "she's burning, giving me a fever."

The narrator says that she’s "a blossom that's about to bloom." The men in the room move around her, competing to "be a groom," but that desire is "an element of fiction." He adds that she's drama because "her life is a problem and her world's a stage."

Now our storyteller says that she's "caught like a tiger in a golden cage." The drama swirls around her, and if you call her name, you will "summon the devil." He adds that they call her Caroline and warns that you shouldn't be sucked into playing her game. She will cry until she falls on the floor, and then she'll "manipulate emotion just to even the score."

The narrator speaks of her landing in a private jet and rushing to get to the set. She demands a Diet Coke and another cigarette. He points out that "her dressing room is a battlefield for friction." Her fans are filled with love "as she bleeds" and "fades beneath the stars above." The void is deep, but it isn't enough because "she's headed back into the battlefields of fiction."

Radiant synth flies out in a brightly dancing melody as the drums tick slowly to start “Impress Me”. Active, uniquely varied percussion shapes the music as Michael Angelaux’s melted-chocolate voice slips in, and the synth contributes luscious luminosity. The way in which Michael Angelaux’s vocals capture the song's mood pulls me in and fully engages me.

The dynamic drum beat has a classic 1980s feeling as the chorus leaps out, catching the lyrics’ jaded feeling. A hollow drum echoes as the caressing vocals slip past with elegant simplicity, while the electric guitar slices with bright energy and the low end bursts with strength. The chorus rings out with expressive life, and the lyrics unfold in rapid-fire motion.

Brilliant synth twirls through the music as the drums rebound, the guitar howls with intricate complexity and undeniable feeling, and the round-sounding synth fills the background. Michael Angelaux’s wordless vocals climb up and shine above the entwined guitar. The chorus continues to carry through the music with entertaining expression as the song comes to an end along with the shining synth sounds.

The narrator says that if the song's subject thinks they're "fancy and fine," he knows that, "You can't hold a candle to what's mine." He's sipped from "the cup of loyalty" and danced with beautiful people and royalty.

Our storyteller asks if the song's subject believes that he appears to be someone who hasn't "dabbled in the riches of the West." He clarifies that he doesn't think they're very clever and that they could try to impress him for all eternity, but he’ll remain unimpressed.

The narrator says he's seen everything, and while the other person can try to impress him, they shouldn't "spring to fall." He speaks of the song subject's obsession and regression, asking them not to call him. He adds, "I've heard all of the fables, and they don't impress me at all."

Our storyteller says that despite the trendiness and great hairstyle of the person he's referring to, he can't make himself care. He adds that "You could move a mountain, bring a kingdom down," but he'll still be glowering at the ground because he is a "cosmopolitan cynic with a chip on his shoulder."

Now, the narrator points out that the song's subject is never going to amaze him because "my eyes are shaded the color of jaded," and he needs a vacation from the drama, adding that the other person can't impress him because he has "tasted all the flavors, and they don't impress me at all."

There's nowhere the song's subject can take our storyteller, and they never tell the truth. He knows, "You're never gonna see it through," so he remains unimpressed. He goes on to say that nothing the other person could say or do "will ever make me wanna play with you," so they should take the picture and get clued in.

As the song comes to an end, the narrator reiterates how unimpressed he is by everything and concludes, "I've worn all the labels, and they don't impress me at all."

“Give It Up” starts with varied, active retro percussion and chiming notes that flicker with lambent illumination as the backing vocals whisper, “Just give it up.” Michael Angelaux’s vocals are rich, deep with wanting as well as questioning feelings. The chimes light up the music as the bursting, bright synth doubles the vocals.

Chimes pour out crystal light as the drums flourish and Michael Angelaux’s gripping vocals draw me into the song. Intertwining percussion bounces along with the trumpeting, scintillating synth that dances through the track. The backing vocals add another warm element as the chiming notes flit with ethereal lightness.

A sax jumps into the music with its reedy, rounded tones and passionate feeling as the drums continue to bounce through, and the raised notes pour out sunlight. The sax howls passionately in its luscious tones as Michael Angelaux’s vocals take hold of the song and propel it to an end.

Our storyteller says he and the song's subject need to take a break, cool it down, and lay their relationship “down to sleep." He tells the other person yes, but they say no, and "then we cut into each other deep." He adds that no one can be a loser if they don't play the game.

The narrator tells the song's subject to just give it up and toss it out because he's not "hangin' on the line," as he doesn't want to fight. He says, "Living it up! Won't give it up!" and that he'll throw the relationship away because he doesn't want to waste all this time or fight again.

"You're impossible, you throw the bait at me," is what our storyteller says about the other person. He goes on to say he takes this treatment every time, while the other person locks the door and throws away the key "for my trouble and my petty crime." He points out, "There can't be a loser, so hang your head in shame."

Now the narrator asks the other person not to make it tough because he doesn't want to pay by "walking down a road of wasting our lives away." He asks the song's subject to give it up and throw it away, adding that "it's ’bout time that we started doing things my way." He concludes by saying, "The fire won't burn us if we don't fan the flame; there can't be a loser if no one plays the game."

Powerful, oscillating bass moves in heavy bursts as a hi-hat continually ticks to start “Call My Name.” Michael Angelaux’s vocals are haunting and warm as a choir calls out in the background, and the drums and bass interlock in a strongly propulsive throb. In the distance, a steadily spinning arpeggio dances on lightly trickling bass as the spoken word part echoes, carried by Michael Angelaux’s smooth voice.

The drums burst again, and the melody mixes yearning with aching as the drums and bass press the music forward. In the distance, a choir adds reverence as the chorus rises on the expressive vocals. The guitar cuts through as twirling arpeggios dance, and Michael Angelaux’s voice skillfully captures the need and longing in the lyrics.

The guitar unfurls with howling energy, crying out and twisting through the music as the active bass rebounds. A hi-hat keeps ticking while the intricately played guitar carries through. Steadily swirling arpeggios add a textural element to the music while Michael Angelaux’s vocals capture the mingled feelings within the words.

Drums flourish, and the chorus climbs as glowing light suffuses the background and the arpeggios seem to swirl endlessly. The guitar tears into the music again with wild dynamism as the vocals cry out above the pulsing low end. The track comes to an end with Michael Angelaux chanting “Just call my name” as the guitar leaps into the music.

The narrator talks about cruising over a hill to see a red sky, asking the song's subject to think about the fact that “I’m not chosen again, and I’ll just go ahead; it’s another thread in our history.”

Our storyteller asks the song’s subject if, as they stare into a mirror and meet their own gaze, they see their regret “coursing through.” He asks if “your penitence is seeping through your pores” and adds that the other person broke the spell he cast on them, but he’s only a phone call away.

Now the narrator sees the song’s subject “walk through the fire when your heart is cold” and queries if the other person could be that bold. He asks them to consider, “Is it winter again? Will it come to an end?” He wonders if they can start again and concludes that it remains a mystery.

“All the pain runs deeper than the ocean” for our storyteller. He asks the song's subject to forget their new feelings and “dive into my heart,” going on to say that all of the rain “will wash away the madness.” He doesn’t want to look away from the other person’s sadness or be separated from them.

The narrator says that “pallid and plain, it’s a typical stain,” but the song’s subject is still entertaining. He reiterates that it’s a mystery and asks if the other person is caught in a trap: “Will you take it all back?” He adds that he is a hunter on the attack.

Our storyteller says, “This man is reckless,” and asks if he means that much to the song’s subject. He tells her that if she needs his touch, she can call his name. He adds, “I’m so defenseless and you mean so much,” so if she doesn’t feel that rush, she can call out to him.

As a “broken man on the mend,” the narrator says that he’ll always depend on the person he defends. He asks the song’s subject to think about him, as a “supernatural gaze” will summon “the phase and take a walk in praise.”

Conclusion

Young & Restless effectively creates a drama-filled, glossy soap opera world as the artist combines his vocal talents with entertaining lyrics and a musical background that deepens the glamorous sensations permeating the entire album. For all these reasons, this album is becoming a favourite of mine.