Album- Above the
Noise
Artist- Mcfly
Since debuting with their hit single “Five Colours In Her
Hair”, Mcfly have been a staple of the British music scene with their
infectious pop rock sound and keen ear for a catchy lyric. But since their last
record end their streak of top ten hits, it seemed that the group potentially
we fading in terms of musical stardom. Teaming up with Dallas Austin, a leader
of today’s music scene, the band build a different sound with this record, showing
more pop sensibilities and having more of a concept in the record as a whole,
whilst still holding to that rock edge. But was this really a good change for
the group, is this really just the album that signals they should maybe split?
Track 1- End of the
World
The opening number acts as this futuristic and cinematic
track that gives a bold energy to the record right from the beginning. The
track begins with a female, robotic vocal that acts as a film moment in which
she speaks of the band entering this place and almost setting them up as the
saviours of earth. Lyrically the track is summed up within the title, and at
first it can come across as if the band are a bit paranoid, but after a while
you get the sense that this is actually a much simpler tune about the end of a
relationship. Vocally both Tom Fletcher and Danny Jones are strong here, having
smooth but rock based tones that meld together nicely in terms of the different
sections and have this innate appeal. But definitely the best bit of the track
is the production, which is courtesy of Austin and samples “War of the Worlds”
by Jeff Wayne. The production features this cool blend of electronic tones with
simple rock energy, with forceful drum beats that get you excited. The middle
section and final section of the track are also powerful in terms of the rock
energy with the catchy electric guitar solos, and the vocal layering is also
really cool, by the end making you really invested in the overall energy of the
track.
3.5/5
Track 2- Party Girl
From the title of the track you can easily expect this track
to have a high energy level, and the band definitely delivers this. The records
lead single, Party Girl is a quite simple electro pop tune that acted as an
exhibition of a change in sound for the group at the time, with their regular
sound having more of a pop rock vibe. The lyrics of the track find the band
describing this scenario in which this woman comes into the room and just has
this sex appeal that is captivating and finds the group in this love-struck
state. The “oh oh” hook of the track is really catchy and the chorus has a nice
simplicity that makes for a memorable quality within the track, which is helped
by the vocals of Jones and Fletcher, who bring light vocal tones and a nice
vibrancy to the track. Production wise we are treated to a stomping dance sound
that is synth heavy and is nicely intermixed with cool guitar riffs and just
has a totally propulsive energy. The track does lose its zest a little at the
end with the repetition, and in today’s pop world the track has a little bit
too much of a familiar quality, but otherwise this is a nice pop tune that
finds the band going in a new direction, but a direction that ultimately suits
them.
3.5/5
Track 3- IF U C Kate
Electronic Mcfly firmly continues with this mid tempo
offering that finds the singers seemingly in another love-struck state.
However, whilst the previous track lyrically showed this girl as almost a
vampire, the girl the group describes here is a much more sweeter entity, but
still as captivating, and the chorus simply finds the group asking us to tell
her that they want her, if we see her. At first the retro quality of the track
with its synth based energy feels a bit too bland, potentially just the group
jumping on the musical bandwagon, as the time of the records release was a time
when a synth based sound was in. However as the track continues, you become
enveloped in the vibrancy of the tune, and the light vocal tones of the singers
once again really draw you in. Jones also really gives a kick to the final
section with some strong ad libs, and the chorus has an undeniably catchy
quality. It may have been a familiar sound at the time, but by the end of this
tune you can pretty much get the idea that in the case of this group the sound
suits them, rather than just being a sound chosen to ensure chart success.
3.5/5
Track 4- Shine a
Light (featuring Taio Cruz)
The only feature on the album, Taio Cruz brings his cool
vocals to this track which has ultimately become the group’s bestselling tune,
with the 2006 charity single “All About You” only bettering it. It is pretty
simple to see why, as this is a delicious pop tune that has a hopeful one
mingled with a small touch of potential sadness, and finds both artists on fine
vocal form. The lyrics of the track find the group in a sentimental mood about
missing an ex, and this wistful note is powerfully helped by the vocals of the
two artists, with Mcfly bringing their signature pop rock sound and mixing this
well with the smooth, slight RnB notes of Cruz. The “eh, eh’ eh” hook is
extremely catchy, and when based in the signature, squelchy synths of Cruz, we
get a sound that is quite irresistible and a perfect slice of pop.
4/5
Track 5- I’ll Be Your
Man
The group slows things down for this kind of lighters in the
air tune that shows a little bit of sensuality and also has a small tinge of
slow in terms of its slow building energy. Whilst the last tune was a little
wistful, this song is built on a more traditional love note, as Tom Fletcher
sings of the greatness of this girl and how he will always be there for her.
It’s a nice sentiment, but it does come across a little cliché and soppy as the
song goes on. Fletcher takes on sole vocal duties for the track, and offers a
nice use of falsetto which layers the track with a sweet edge, although at
times his voice feels a little strained. Whilst the vocals and lyrics are a bit
touch and go in quality, the production is just really good, with the simple
drum beats and kind of shimmering guitar riffs just giving a chilled, swaying
mood that makes for an appealing listen, with the electric guitar solo in the
middle section being another slice of cool rock moments in the bands pop world.
3.5/5
Track 6- Nowhere Left
to Run
When the band says they have nowhere left to run, this is a
thoroughly metaphorical statement. This is because this track is basically a
simple love song about how the male protagonist can’t live without this girl
and just needs her love. The track is one of the poorest tracks in terms of the
lyrical quality, as the hook isn’t as strong as the previous numbers, and many
lines are just too repetitive. The track is also poor vocally, as both Jones
and Fletcher feel like they are straining their voices and yelling rather than singing,
with the Auto Tune seemingly used to combat this sounding grating and annoying
rather than appealing. Only the production is something to find good, with the
twangy guitar riff and steady back beat giving a nice pace to the track and
really building nicely in the chorus with the use of some electronic beats as
well.
2.5/5
Track 7- I Need a
Woman
A soulful and almost country quality to the group is
exhibited within this track that has a more acoustic feel and is another song
that is built upon this idea of love. The lyrical concept is something that is
once again summed up in the title: the guys are looking for a woman who can
fulfil their needs, and this girl seems to be a nice fit, being all they want
and need. The concept is executed nicely with a strong pop chorus, and vocally
this is a much better offering, as the two lead vocalists have nice separate
duties that meld well together, Fletcher providing a soft tone in the verses
and Jones giving a bit of a kick with a rough and gritty vocal that makes what
he is singing feel that little bit more sincere. Sampling The Temptations “My
Girl” and including a riff from “Supreme” by Robbie Williams, the track is a
little bit more of a pop rock affair than the previous numbers, and just has
this cool rhythm that is one you can both chill to and get excited about.
3.5/5
Track 8- That’s the
Truth
Track number 8 and the records third single was the first
single by the group not to reach the top twenty of the UK music charts.
However, since the release lacked promotion due to member Dougie Poynter
entering rehab at the time, it’s not really the songs false. The track very
much fall into the typical anthemic boy band ballad territory, but the song
still has a catchy quality with the simple but strong chorus and so the cliché
of the sound can be forgiven. Lyrically the track is all about the guys telling
the girl that she is loved and shouldn’t listen to what others say, instead she
should just trust in her man. Both Fletcher and Jones provide strong vocal
performances within the track, harmonising well in certain sections and each
giving an almost kind of desperate tone to the track. Production wise Austin
and Jason Perry bring a string orchestra and simple rock vibe to the track that
is a change from the electronics of previous singles, and is nice, although
perhaps because of the production the track feels that bit typical, and so
although it goes with the heartfelt sentiment, it might have been cool to see
what some synths would have done to the tune.
3/5
Track 9- Take Me
There
Mcfly definitely seem to be the band all about how great
this girl is when it comes to this record. This is because here we are treated
to another musical offering where the guys just praise this girl and how she
makes them feel alive, and just ask to be taken to her level of awesomeness.
It’s simple sweet message that is centred around a nice hook, and although in
no way innovative and a little repetitive, the group still manage to create a
tune that has appeal. Jones is really strong in terms of the vocals, with the
final chorus having a really power to it, whilst Fletcher simply sings three
lines and offers a nice lightness in contrast to Jones. The production is
another typical electro pop rock element driven number with the steady drum
beats and cool electronic bass line, with the guitar transitions being the
catchiest moments and all just creating a sound that allows the sweetness of
the song to shine.
3.5/5
Track 10- This Song
Loved up Mcfly comes out once again with this track,
although the lyrics do have a little bit of a sexual edge. The track finds the
guys singing about how somewhere in the world people are doing things whilst
with this song, whilst asking this girl to wrap her legs around them and they
can just lose control. Fletcher is the main vocalist on the track and tries to bring
charisma to the track by employing a falsetto vocal, yet whilst this is nice,
it is not enough to hide the fact that the lyrical content is very poor and
clichéd, having no real catchy quality. The happy production is also heavily
clichéd boy band material with the light electro synths and steady drum beat
intermingled with acoustic guitar riffs that all makes for a traditional pop
rock sound that tries to be appealing and in doing so ultimately fails, with
the song also being really dragged out in terms of the instrumental middle
section.
2/5
Track 11- Foolish
The final track is another moderate tempo affair that feels
very much like a number of other pop biy bands could have produced. The track
is basically all about how this girl is great, and how the guys can’t live
without her, but at the same time there is this sense of them wanting to be
distant from her because they have lost themselves a little. Pop rock is the
production here with simple drums and guitar that just comes across as bland,
and Fletcher offers vocals that are sweet and nice enough but bring no
emotional investment to the tune.
Final Review
Above the Noise seems to be an album of two halves: the
first half of the record finds the group pushing themselves sonically and
creating some of their best material today whilst not running the risk of
compromising who they are as a group. The second half is a really bad
divergence from electronic sounds to more organic Mcfly of old, and whilst this
would have worked quite a few years ago, it now just sounds like terrible boy
band material that has just been giving to them and could have been produced by
any other boy band, with the last two songs making for a real terrible end. If
they are going to stand any chance of having good album success and not just
single success in the future they need to produce a record that has more of a
cohesive essence in sound and doesn’t going into the levels of cliché that the
latter songs in this collection do.
5/10
Best Track- Shine a
Light (featuring Taio Cruz)
Worst Track- This
Song
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