Lead single “Bonfire Heart” is the main attraction for sure, with it’s folk-pop driven sound. As for the songwriting, it’s both thoughtful and carefree, whether “She’s from a long lost tribe looking for the light…” or questioning life’s ultimate existence (“…For all we know life’s just a dream / who the hell knows what it means / stop the world and sing with me”).
The chorus adheres to ‘pop guidelines’ with its big sound, where Blunt’s clear vocals sit commandingly atop the production. The sound still trends conservative, but with a dash of the ‘tongue-in-cheek’, giving Blunt more of a lighthearted persona. “Satellites” contrasts with more of a ‘groove’, which sounds incredibly crisp within the production. After reaching its peak, it cools, ending as subtly as it began. After taking an antithetical approach through balladry, the cut expands into a fully-developed, soaring number. “Feel the Sun” kicks things off more restrained than one might envision for an opener. Moon Landing is a solid affair, though by no means describable as an innovative ‘tour de force’. While Moon Landing has some unique facets and cues, it doesn’t seem to aim for a new group of fans. Blunt never been able to match the success of “You’re Beautiful” or parent album Back to Bedlam. Since earning multiple accolades for the ‘song that could’, Blunt’s career has cooled considerably – at least in the US. For Blunt, success came in gargantuan proportions with remarkable and ubiquitous hit, “You’re Beautiful”. Many artists in such a position have experienced the sweet taste of success with a breakout single or album, only to later find themselves as “has-beens”. When an artist possesses a truly distinct, pronouncedly different voice from the multitude, it can work beneficially or adversely. “I have never been a beautiful boy / never liked the sound of my own voice…” That autobiographical lyric is how British singer/songwriter James Blunt opens “Bones” from his fourth album, Moon Landing.
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