Sam Fender, Hypersonic Missiles | Album Review 💿

On his debut album ‘Hypersonic Missiles,’ British singer/songwriter Sam Fender shows off mature musicianship with creative songwriting and capable vocals.

“Start up my motor, eat, drink some burgers and cola / Feed my addictions and vices, oh, how my iPhone entices / My echo chamber media, regurgitated trivia / Befall the left and the right, catered for privileged whites.” Yeah, those are pretty epic lyrics Sam Fender.  Not only is the song “White Privilege” pretty rad, so is the British singer/songwriter’s entire debut album, Hypersonic Missiles.  What makes Hypersonic Missiles the ‘cat’s meow?’ Excellent musicianship from Fender in regard to vocal performances and colorful, creative, and poetic songwriting.

“Hypersonic Missiles”

“Cities lie like tumors all across the world / A cancer eating mankind hidden in our blindside.” ✓ “Hypersonic Missiles” kicks off Hypersonic Missiles superbly.  Sam Fender delivers a number of politically charged, socially conscious lyrics.  Even with the ‘chaos’ referenced during the song, he tells Vents Magazine:

“In many ways, ‘Hypersonic Missiles’ is an unorthodox love song… Amongst all the chaos is love and celebration, there is this glimmer of hope that runs through the song  little notion that no matter what happens, these two people are gonna have a fucking good time regardless of the tyrants that run their world, and regardless of the imminent doom from these ‘Hypersonic Missiles’.”

Fender’s explanation explains the optimism conveyed in the chorus lyrics, “And when the bombs drop, darling / Can you say that you’ve lived your life?” “The Borders” runs five-and-a-half minutes in duration, earning the honors of the longest song on the album. It may be long, but the narrative is alluring, even without the aid of a chorus serving as the centerpiece.  On this energetic, up-tempo record, the Bruce Springsteen comparisons are quite pronounced, save for Fender’s inescapable British accent of course.

“White Privilege”

“The patriarchy is real, the proof is here in my song / I’ll sit and mansplain every detail of the things it does wrong…” ✓ “White Privilege”, the profane third track gracing Hypersonic Missiles, is quite accomplished.  “White Privilege” finds Sam Fender examining white privilege (“‘Cause I’m a white male, full of shame / My ancestry is evil, and their evil is still not gone”), including his own, and the layers of such privilege, as well as a number of political and social issues plaguing both England and the world.  Brexit gets colorful treatment (“Don’t wanna hear about Brexit, them old cunts fucked up our exit / My generation was duped, the youth were left out of the loop”), while political correctness is brilliantly addressed as well (“Everybody’s offended, the joke that keeps on giving / I’m not entirely sure the nitpicking can count as progression”).  Ultimately, Fender does a marvelous job of providing perspective and analysis on a number of relevant issues.

Following the privilege highlighted in “White Privilege,” ✓ “Dead Boys” finds Sam Fender referencing male suicides in England.  Clearly, it’s an issue that’s not addressed the way it should be, exemplified brilliantly on the second verse:

“We all tussle with the black dog
Some out loud and some in silence
Everybody ‘round here just drinks
‘Cause that’s our culture.”

Of course, ‘the black dog’ is a metaphor for depression, which is often the catalyst for suicide.  It’s ultimately shameful that “Nobody could ever explain / All the dead boys in our hometown.” Vocally, Fender sounds awesome on “You’re Not the Only One,” particularly the optimistic chorus.  Even with some ‘poetic pessimism’ gracing the verses (“Your composure is so brittle, and you hold yourself so well”), it’s not nearly as depressing or morbid as “Dead Boys.” There are shared issues, yet a sense of hope and conquering such issues as well.

“Play God”

✓ “Play God” ranks among the best of the best when it comes to Hypersonic Missiles.  The politically charged, minor key record ended up appearing on the soundtrack of FIFA 19, quite notable for an up-and-coming artist like Sam Fender.  Specifically, Fender addresses untrustworthy politicians, protest, war, the economy, and references the famous, if unsettling, George Orwell novel, 1984 (“No matter where you are or where you’ve been / He is watching from the screen”).

Apparently, “…That sound” is “the only thing that keeps [Fender] grounded” on ✓ “That Sound.” This is a crowd-pleasing, psychological number with a terrific chorus and post-chorus, and enjoyable songwriting overall.  Fender sings quite well, while the production by Bramwell Bronte continues to shine.

✓ “Saturday” continues a string of enjoyable, well-rounded songs from Hypersonic Missiles.  It remains energetic, particularly the chorus where Fender shows off both his power and capable falsetto.  Where some of the songs are more rock-tinged than pop-tinged, “Saturday” balances both.  No, this isn’t ‘modern pop,’ but it’s certainly tuneful enough to have success on pop radio.  The tempo is quick on follow up “Will We Talk?”, another high-energy performance. Once again, the Springsteen vibes are legit, and there’s not damn thing wrong with that. Additionally, there’s a dash of 80s rock, without overdoing the synths or the gloss.

“Two People”

So much of Hypersonic Missiles finds Sam Fender ‘giving his all’ with dynamic vocal performances.  On the beautiful, thoughtful “Two People,” he pulls back, yet remains potent. The lyrics continue to shine as he imparts an abusive relationship that leaves out specific names.  The names aren’t important – this could be anyone who’s experienced this situation.  “Outside, the world is turning / A different life, you’re yearning,” he sings on the chorus, later adding, “Hope that you’re learning / That you just sit there burning / Lying in his fire.” Unsurprisingly, love is central on the simpler, but still respectable “Call Me Lover.”  It doesn’t approach the depth of “Hypersonic Missiles,” “White Privilege,” or “Dead Boys,” but there’s nothing wrong straightforwardness.  Also, the listener gets some of that winning upper register as well.

Penultimate record “Leave Fast” features more depth, as well as more creative, poetic lyrics.  This is truly a singer/songwriter song with a unique rhythmic delivery on the melody, particularly on the second verse.  Still, Fender shines on the chorus, which is quite tuneful.  He closes things out with “Use – Live,” which nicely captures the intimacy and indulgence of a live performance by a singer/songwriter.  Something that stands out about the closing live cut is just how strong Fender is as a vocalist.   

Final Thoughts 

All in all, Sam Fender delivers a strong full-length debut album with Hypersonic Missiles. Hypersonic Missiles shines for a number of reasons.  Why does the album shine? First and foremost, Fender proves that he is a well-rounded musician.  He is talented when it comes to singing, showcasing a nuanced, powerful voice.  Furthermore, he is a capable songwriter, delivering intriguing stories, poetic lyrics, and thoughtful messages. He is the engine that makes Hypersonic Missiles go, and the results are excellent.  Don’t sleep on Sam Fender.

✓ Gems: “Hypersonic Missiles,” “White Privilege,” “Dead Boys,” “Play God,” “That Sound” & “Saturday” 

Sam Fender • Hypersonic Missiles • Polydor • Release: 9.6.19

Photo Credit: Polydor