Natalia Kills- Trouble Album Review

 

 

 

 

 

 

 

 

 

 

Album- Trouble

Artist- Natalia Kills

Natalia Kills is perhaps one of the most underrated pop stars in the music industry right now. Whilst the singer has a distinctive style and brings a fresh and fun personality to her music, the artist has yet to set the world alight with her music in the way that other female artists seem to be doing. Trouble is the singer’s second studio album and finds her delving into her life more vigorously and changing up her sound a bit. Yet once again this album has kind of skated by the mass market, only charting at number 70 on the Billboard 200 over in the US. Is this because it isn’t actually that good a record, or are people actually just being dumb to the brilliance that is Natalia Kills?

Track 1- Television

With the blaring sirens and clunky piano intro, Television is a track that really signals that this album means business and isn’t going to be a really happy affair. The song has a dramatic and cinematic beginning where Kills asks what you know about real love. Then the song morphs into this stomping synth pop number that features scratchy beats and a bratty vocal delivery from Kills. Here the singer tells us of how people live their lives just like on the television, and they face the same consequences. The lyrics are smart and witty with a catchy hook and an angsty feel that is infectious. The vocal performance is simple but works really well and shows off the singer’s fierce personality very nicely, whilst the scratchy tone of the production perfectly melds with the lyrical content to create this powerfully bratty feel.

3.5/5

Track 2- Problem

Lead single Problem once again opens up with blaring sirens and morphs into a more aggressive, feistier pop number with a shattering rock edge. Lyrically the track is a bit of a dysfunctional relationship song as well as an I don’t care kind of track as the singer focuses on how this boy should just be with her and not care about the fact that others see her as a problem. The song is really catchy with a repetitive hook that gets stuck in your head so easily. Vocally Kills is really great as she plays this fierce and sultry role really well, whilst her vocals are altered a little to create both an airy and gritty texture for the track in various places. Production wise the song nicely utilises really hard rock guitar riffs with snappy beats for a harsh sound that compliments the lyrical substance.

3.5/5

Track 3- Stop Me

Inspired by the singer running away to Paris with a friend as a teenager, Stop Me is another forceful pop track with a military style feel to the production and an I don’t care essence. The track lyrically focuses on the singer simply running amok around town, and if people want to stop her they can try, but they won’t do so. The lyrics are nicely quite narrative led and feel very accessible in terms of having this almost diary entry like quality. The vocals don’t grab you at first but the varying style of the vocal throughout the song is interesting, with the chorus being helped by the layering of Kills’ voice. The song features this rumbling drum beat and echoing notes that creates this simmering but intense feel to the song that is nice to hear.

3.5/5

Track 4- Boys Don’t Cry

Here Kills things changes things up a little bit as this track has a slightly more pure pop feel to the lyrics with strong pop hooks that have a 60’s feel, but being paired with a pop rock style. The song finds Kills telling this person that tonight she will be his, but he mustn’t get upset when she leaves. The song is instantly catchy with a nice rise and fall style in the vocal, and Kills feels very passionate within this track in the way she kind of belts out the chorus. The songs sound is quite simple with an instantly fun rock guitar riff and hand clapping beats, with the use of bells towards the end also adding another interesting tone to the track that adds to its appeal.

3.5/5

Track 5- Daddy’s Girl

Kills’ favourite track on the record, Daddy’s Girl focuses on the singer analysing her mother’s devotion to her father during the singer’s childhood, at a time when her father was in prison. Sampling Hall & Oates’ ‘Rich Girl’, the song is smart and fun with a nice pop sheen but it is also very personal and definitely brings to light the singer’s riches to rags life. Vocally Kill plays this role of a devoted lover very beautifully, with a cute and snappy vocal style that feels vulnerable, sincere and just great to listen to. The tracks sound is simple in its pop texture but features a smart and harsh rock rhythm, and simply acts as a light, vibrant sound that allows the lyrics to be more powerful.

4/5

Track 6- Saturday Night

Second single Saturday Night really feels like it kicks off as a sort of sequel to the previous track. Here Kills lyrically addresses themes of disenchantment and perseverance, whilst the song also touches upon the singers living in a childhood in which domestic violence occurred. The song’s lyrics are strong with a delicious pop hook, and the lyrics also have a lovely confessional, personal feel that makes for a song with substance and which you can immediately love as a listener. Kill’s vocally shows off her range and invests emotion into the song to great effect, whilst the production smartly contrasts the deep intense lyrics, with the song having a mid tempo, 80’s synthpop and new wave sound that is big, bold and just brilliant to listen to.

4/5

Track 7- Devils Don’t Fly

Described by Kills as a ‘suicide ballad’, Devils Don’t Fly is a haunting piano led number that shows off a lovely and different side to the singer in which she is more purely vulnerable. The song finds Kills in a moment where she feels like everything has gone wrong, and she believes that devils don’t fly and that she is one of those people who maybe shouldn’t carry on. The song is lyrically sharp and nice in the way that it can have different meanings, whilst vocally the singer shows off a softer side to her vocals and really imbues the song with the right amount of delicacy and passion. The piano melody and hard hitting, military precise drum beats on the track creates an intense and dark sound that perfectly melds with the lyrics.

3.5/5

Track 8- Outta Time

Released as the second of two promotional singles, Outta Time focuses on Kills singing about how this person is out of time in the ability to save the singer from herself. Lyrically this is perhaps one of the weaker efforts from Kills, whilst the vocals are simple but effective. However what is really nice about the track is that it melds an array of genres, with a 60’s inspired beat, new wave rhythms and a subtle rock sensibility that shows the singers brilliantly musicality and nicely gives a bit of soul to her pop sound.

3.5/5

Track 9- Controversy

First promotional single Controversy is a bold music affair that opens up in a similar cinematic way to Television. The song features a more prominent pop punk sensibility and finds the singer giving us an array of images that highlights the flaws and dangers of society that many people just turn a blind eye to. The lyrics are repetitive with the ‘controversy, a ha’ hook, and this is something that will either appeal to you or not. However vocally the singer’s style is really great with a deep, dark essence to her vocals and some raspy lines that emphasises this song is really highlighting some dark issues. The grungy rock instrumentation and tinkling bell notes creates an intense sound that make this track a superb analytical style track that shows that this is a singer who is also maybe out for change.

3.5/5

Track 10- Rabbit Hole

Rabbit Hole finds the singer changing up her style once again for a more bubblegum pop sound that feels very Gwen Stefani inspired. The lyrics of the song are repetitive and bratty, with the song finding Kills painting this picture of her and this boy just living life and being cocky teenagers. Vocally the song is interesting in terms of the singer utilising the different elements of her voice to give the song a forceful and sensual feel. The squiggly synth notes and warped rhythms create a bouncy pop sound that is different and kind of fun to dance to.

3.5/5

Track 11- Watching You

Watching You is a forceful, sweeping pop ballad in which the singer addresses this relationship that has ended but she still feels for this person and will be watching him with his new girls. The song is lyrically sharp and Kills vocally goes a bit more powerful and higher into her range with this track, although this does show her weakness vocally just a bit. The problem with this track is that the sweeping synth based texture of the production just doesn’t capture you in the way that the sounds of the other tracks have, so whilst it is great to hear the singer attempt more of a big ballad style, it doesn’t work as well as you might hope.

3/5

Track 12- Marlboro Lights

Marlboro Lights is another ballad that has a broader style for the singer that might appeal to different music markets. For me this ballad is definitely better and is made stronger by the fact that whilst she may never be the best at producing ballads, keeping things really pure and simple in sound is the best way for this artist to go with ballads. The song finds Kill’s in a state of heartbreak but also coming to terms with the fact that this is the end, whilst she tells this person that she will still be here thinking and dreaming about them. Vocally Kill’s intent is pure and heartfelt with her performance nicely showing delicacy and control, whilst the simplicity of the piano and strings makes for a touching sound to the record that works well with the heartfelt quality of the song as a whole.

3.5/5

Track 13- Trouble

Title track and album closer Trouble is a big arena ready pop number with stadium sized drums, ending the album on a really impressive high. Lyrically the song is in a similar vein to Problem in that the singer calls on this boy to be with her and revel in her mischievous nature, but here the singer really owns her status as a troublemaker, making this song an anthem for the youth who feel like they are trouble themselves and are maybe misunderstood. Vocally the singer’s voice is big and grainy with a lilting quality that feels atmospheric and passionate. The arena ready pop rock sound is really great, and this a great close to the record.

3.5/5

Final Review

Trouble is a really great sophomore set from a singer that totally deserves more success than she gets. What is great about this album is that whilst her debut album Perfectionist was good, there is a definite sense of improvement and artistic progression with this album. The lyrics are sharper and delve into more personal territory for the singer, but she doesn’t compromise on giving us catchy pop hooks and making the songs fun for the listener. Her voice is more fine-tuned and she knows how to play with it and utilise it to great effect. Furthermore, the singer’s style changes from a synthpop led sound to a more electro rock style that suits the lyrical substance and feels more powerful and suited to the singer. This album needs more success and I really want readers of this review to go out and purchase this record.

9/10

Best Track- Saturday Night

Worst Track- Watching You  

Song of the Week December 23rd 2013

 

 

 

 

 

 

 

 

 

Song of the Week- How You Remind Me by Avril Lavigne, from the album Avril Lavigne (Japanese Edition)

My choice for song of the week is a bit of a controversial one this week. This is because it is Avril Lavigne covering one of the biggest songs by the group Nickelback, which is How You Remind Me. Many people will probably not be happy with the singer covering the song, and many people will probably just think that she has only covered the hit because she is now married to the bands lead singer Chad Kroeger. But whilst I am a fan of the original, I actually really love Lavigne’s take on the song, and for me she adds a different kind of emotional depth to the track that is lovely to listen to. The song’s lyrics are as passionate sounding and fine-tuned as the original song was, but here things are arranged for a much softer sound, with Lavigne’s vocals being backed by delicate piano melodies and simple drumbeats. This softer sound creates a different vibe for the track that brings this greater sense of vulnerability, and it is also great in that it really works well with the lyrical content and means that this version isn’t just a bland carbon copy of the original track. The softer musical setting also allows for the singer to shine vocally, utilising her soft tone to great effect and creating this lovely performance that is emotionally fine-tuned and which almost makes this feel like we are finally getting to see this relationship from the female perspective, even though the words are exactly the same.

Cheryl Cole- 3 Words Album Review

 

 

 

 

 

 

 

 

 

 

 

Artist- Cheryl Cole

Album- 3 Words

Out of all the girls that formed British girl band Girls Aloud, Cheryl Cole is undeniably the leader of the pack when it comes to carving out a solo career, with three solo number 1’s and a further two top ten hits under her musical belt. Yet whilst the singer has had a strong solo career, her sales have dipped with each consecutive album she has released. Now, as she prepares to reportedly release her fourth studio album in 2014, it would seem that her success may never reach the heights that her million selling debut album did. However, is 3 Words actually an album that deserves to have sold a million copies, or was this album more built on luck and hysteria surrounding the singer’s high profile role on the UK X Factor and the fact that this was the first solo record not only from Cole, but from any of the members of Girls Aloud?

Track 1- 3 Words (featuring will.i.am)

3 Words begins the record off with a slow building dance pop sound that finds the singer vocally duetting with Black Eyed Peas member will.i.am, a close friend and the records executive producer. The song focuses on the two artists playing lovers who sing of being saved by the other person saying that they love them. The lyrics are a bit clunky in their structure and the message is a bit too simple and clichéd, whilst the vocals of the two artists don’t blend smoothly enough to make the track seem really sincere. The only thing that really salvages the song is the production, which utilises acoustic guitar loops and piano melodies to create this soft, shimmering sound that gives the song a slightly intense feel, whilst the chorus is kicked into a higher gear with the use of heavy bass and some synth notes.

2.5/5

Track 2- Parachute

From the dance pop sound of the previous track we are taken into a more straightforward pop route with Parachute, with RnB rhythms pulsating underneath the track. The song focuses on Cole both sweetly and sultrily declaring that she doesn’t need anything else expect the person who loves her, as she feels safe in their arms, with subtle elements of paranoia also being present in the lyrics. Vocally the singer is much stronger within this effort, with the light tone of her voice suiting the lyrical sentiment and being elevated by the layering of her voice within the chorus, allowing the song to become a catchier listen. Production wise the track features some marching style drum beats and smooth string arrangements, as well as some soft piano instrumentation that just creates an airy tone for the track that makes this a nice pop tune.

3.5/5

Track 3- Heaven (featuring will.i.am)

The first of three songs co-written by Cole, Heaven finds will.i.am coming on board again for another dance pop driven love song, although this track has a bit more of an RnB vibe on top of the dance sound. Lyrically the song finds Cole simply telling her lover that she hopes he knows that being with him is pure bliss for her. The lyrical sentiment is very clichéd and vocally this is an uncomfortable listen as the weakness of the singer’s voice is more prominent within the track, whilst the chorus is pitched too high and just sounds annoying. In terms of will.i.am’s presence on the track, he basically adds a rap that will go over your head and gives us small vocal moments that gives a two sided quality to the track that is just bland. The juddering synths and pulsating dance rhythm is equally as bland, creating an inoffensive sound that just makes the song a complete package of being boring.

1.5/5

Track 4- Fight for This Love

Cole’s first single as a solo artist and her biggest selling single to date, Fight For This Love is a synth based pop/RnB track that finds the singer telling the listener of how relationships can be rocky, but sometimes you have to fight for love. The lyrics are tightly structured with a catchy pop chorus and nicely subdued but airy verses. Vocally the track is nice with the singer’s soft tone bringing an element of sincerity to the songs message, whilst in the chorus the singer becomes a bit more forceful. The chorus is also made stronger by the layered style of the vocal. The light synth production with the use of some drums makes for a nice pop sound that you can easily dance around to, and whilst the song isn’t innovative in its message or sound, it is a solid slice of pop made all the better by the singers undeniable charm.

3.5/5

Track 5- Rain on Me

Rain on Me is a nice pop track that has a bit of a soulful RnB edge and which finds the singer being a bit feistier. Lyrically the track finds Cole just telling people that she will not give them the pleasure of seeing if they hurt her not. The track has an empowering quality and although elements of the chorus feel slightly awkward, for the most part the lyrics are smartly compiled to be readily accessible and catchy. The singer is vocally stronger within this track, and whilst she doesn’t hit the high notes in the way you would want a solo singer to, this song definitely shows off some of the Cole’s range very nicely. The sound of the track is also fun with a cool blend of twinkling piano melodies with some subtle horn blasts and a snappy beat that just creates this really enjoyable sound, and it is surprise that this wasn’t a single.

3.5/5

Track 6- Make Me Cry

The second song co-written by Cole, Make Me Cry is an initially intriguing track with the bubbling, snappy beat at the beginning. But after that the song settles back into a bland dance pop/RnB sound. The song is another track in which the singer is a bit feistier, although she is also vulnerable, as she tells her lover to stop trying to hurt her if that is what he is doing, because she loves him and doesn’t want to lose him. The lyrics are ok but the chorus is really annoying with the repeated lyric of ‘are you trying to make me cry?’ Vocally the track is also just ok, as Cole’s voice gives a smooth feel to the song but she is not a strong enough vocalist to really bring out the passion of the lyrics, whilst the chorus is also a bit annoying through the use of Auto Tune. The production is ok with a fuzzy synth base and some funky guitar rhythms, but the track just kind of floats along on the sound and doesn’t grab your attention, whilst the last minute of the song should have definitely been cut.

2.5/5

Track 7- Happy Hour

Happy Hour finds the singer edging more into RnB and flourishes of pop, with the song also having a slight 60’s feel. The weird backing vocal that is constant throughout the track is really annoying, but apart from that the production is solid with a groovy beat and simple melodies that just creates a smooth sound for the singer’s vocals. Within the song Cole shines vocally as things are kept simple and effective, with the layered style of the vocal once again working really well. The lyrical content of the track is much more interesting than previous songs as the singer details a relationship where she is both in bliss with this person, and he drives her crazy, with the lyrics being compiled into a complete package of interesting verses and a catchy chorus.

3.5/5

Track 8- Stand Up

Co-written by pop star Taio Cruz, Stand Up is an up tempo dance pop number that is all about Cole telling the listener that she has come here to dance and that they should join her in feeling the music and living life. The song is lyrically plain but effective, with a nice pop chorus that is immediately catchy. In terms of the vocals the song is strong through the fact that things are kept on a simple level, with the singer’s vibrant personality also shining through in the songs pace. Cruz and co-writer and co-producer Fraser T Smith provide a fun synth based sound for the record with snappy beats that makes the song just ready for the dance floor. Cruz also provides a cool but uncredited guest rap, and it just feels like this track was tailor made to be a single.

3.5/5

Track 9- Don’t Talk About This Love

Originally sung by Nikola Rachelle, Don’t Talk About This Love is a mid tempo pop track that finds the singer going a bit deeper into her emotions. Here we find Cole singing of her wish for her and her lover to hide their relationship, as she doesn’t want to hear people’s judgements and needs to also figure out her own insecurities about the relationship. The lyrics are composed in a straightforward and honest way, and vocally the singer is really great within this song, with the vocal performance being soft and understated and really playing to the Cole’s strengths. The songs production features a smart blend of strings and guitar with subtle piano notes for a sound that is as delicate and passionate as the lyrics.

3.5/5

Track 10- Boy Like You (featuring will.i.am)

Boy Like You is the final song co-written by Cole, and once again she teams up with will.i.am. Here the singer samples Fleetwood Mac’s 1987 single ‘Little Lies’. Cole sings of making this boy hers because there is something about him that makes her feel so good. The song is reduced to bland cliché and the singer isn’t strong enough vocally to convey the songs stomping electro and RnB pop feel to the full effect it deserves. Once again will.i.am just adds some annoying vocals to the song and just makes it seem like he wanted to feature on as many songs as he could, whilst the fuzzy bass and hard hitting beats creates a sound that just kind of makes you bob your head along, lacking the quality to get you really excited about the song.

2/5

Track 11- Heartbreak (will.i.am featuring Cheryl Cole)

Final track Heartbreaker is more of a bonus track as it is actually a single from will.i.am’s third album Songs About Girls, with Cole adding some vocals to the British version of the single. That being said, this is actually the best collaboration between the two, and so it is only a good thing that it appears on the record. The song finds will.i.am telling this girl that he is sorry but he is a heartbreaker, whilst Cole provides a small section for the chorus that simply finds her agreeing with will.i.am about his heartbreaker status. The song is simple but fun with a slight flirtatious quality, whilst the upbeat production is light and fun enough to listen to.

3.5/5

Final Review                     

3 Words is a fun record that nicely melds the genres of dance, RnB and pop that allows Cole to really carve out a more distinctive sound away from her time with her band Girls Aloud. However, a lot of the time the production can be annoying, and with some songs the singer’s weak vocals are definitely shown. Clichéd lyrics also affect the quality of the record as a whole, and so whilst there are definitely fun songs on this record, as a whole it feels like a subpar effort that doesn’t deserve to have sold over a million copies, and which is really badly affected by the presence of will.i.am.

4.5/10

Best Track- Fight for This Love

Worst Track- Heaven (featuring will.i.am)

Brandy- Two Eleven Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Two Eleven

Artist- Brandy

Back in the 1990’s Brandy was an RnB force to be reckoned with, producing such hits as Baby and Monica duet The Boy Is Mine. Yet her career took a dip within the 2000’s era, and since then the singer has delved into other entertainment avenues and hasn’t quite had her former musical status. But with the success of her Chris Brown collaboration Put It Down, it seems that Brandy could be an artist who re-emerges into the music scene and becomes world widely successful again, or at the very least a dominant force in the US market. Two Eleven features the singer diversifying the number of collaborators on the entire record and working with new people, and bringing with this change a fresh sensibility to the record. Is this a great thing for Brandy, or is this still rather more of a so so record.

Track 1- Intro

Short track Intro acts as a forceful, hip hop and RnB orientated opening to the record, being a largely instrumental number built upon the use of a scattered drum beat, stirring strings and an ominous male vocal to highlight the intensity of this record and making the record begin in an almost cinematic way.

3.5/5

Track 2- Wildest Dreams

The first proper track, Wildest Dreams is a mid tempo RnB jam that has strong themes about love, as we find Brandy singing about how she never imagined that someone could love her and treat her this way. The song is backed by a heavy sound that features a stomping, percussion led rhythm that is strong and a little classic RnB sound, showing why the singer is one of the queens of the RnB scene. The vocals are slickly produced in terms of the layering of the singer’s voice, which nicely brings out the sweetness of the track and brings us a slick song that starts the record off at a nice pace.

3.5/5

Track- So Sick

Sticking with the classic RnB energy of the previous track, So Sick finds Brandy comfortably fitting into her usual RnB mode and bringing us a track that feels effortless and just pleasurable to listen to. The vocal layering of her voice once again brings a smooth texture that makes the track fun to listen to, and creating a vocal that will sound great on radio. The vocals are also still strong enough to show how the singer is an accomplished vocalist rather than someone trying to hide vocal weakness, with the singer giving us some great ad libs that act as a cementing of the fact that too many she is an RnB diva. However, this song is markedly different in subject matter, as here we find Brandy telling her beau that she has had enough of his ways and the way that he violates her trust. The message is strong if a little bit repetitive in terms of the ‘so sick’ hook of the chorus, but Brandy works well in bringing out the emotion of the song, and with the twinkling melodies and forceful bass of the production with the little guitar outro, the track has a forceful but calm sound that emphasises the idea of Brandy being angered at her lover but calm and collected in how she will deal with him.

3.5/5

Track 4- Slower

Things take a bit of a funkier turn with the sound of this track, and as well as upping the tempo a little, Brandy also changes again in personality. Whereas So Sick found her being a girl sick of her man, here she is a sultry woman who asks her man to just take things slower because that will be best for both of them. The lyrics are tightly structured, and although a bit stereotypical, the lyrics are powerfully backed up by the tone of Brandy’s voice, as the smooth quality of her voice makes her words believable and sensual. The songs production features a heavy bass and warped beats that gives a rolling, sway your hips rhythm to the track, perfectly capturing the songs message and making the song a welcome addition to the record, as it is as tightly focused as the former tracks.

3.5/5

Track 5- No Such Thing as Too Late

Taking her music to a softer state, No Such Thing as Too Late finds Brandy quite delicate in her vocal tone and bringing us a depth of emotion that hasn’t come into the play on the record up until this point. The song focuses on the idea that love doesn’t have a time period and that Brandy will be here waiting for this boy who she thinks she will be great with. The message is sweet and potent and is nicely brought out by the power of the singer’s vocals, with the vocal performance here dipping between vocal layering that gives a euphoric edge to the track, and more stripped back moments that highlights the delicacy of the emotion that the singer is conveying. The heavy percussion gives a strong RnB groove to the track, whilst the flourishes of synth give a slight 1980’s feel to the track that is soft and lush to listen to, and which highlights in a way how Brandy has matured, but has also been in the game for a long time and is still influenced by music of the past.

3.5/5

Track 6- Let Me Go

Let Me Go grabs your attention from the beginning through the way that we hear Brandy singing as if she is putting the vocal down in the studio just at the point of us listening, making this seem more like a demo track. But then the beats of Let Me Go kick in, and we are treated to more of an upbeat offering that pairs her typical RnB sound with a slight club and dance feel. Brandy turns back to a girl in the throes of love, as the song lyrically focuses on Brandy telling this boy that he makes her feel so good, and so he cannot let her go. The message is strong and features some slick vocals from Brandy, with the vocal layering giving the song this smooth tone that emphasises the emotive qualities of the track. However the distorted let me go hook is just a bit annoying, and it feels unnecessarily produced. The beats of the track are vibrant, with great use of piano and percussion, but at times the sound feels a bit all over the place, and so this would have been a better tune if it didn’t feel so excessive.

3/5

Track 7- Without You

A ballad that was originally crafted for singer Alicia Keys, Without You is another emotive number from the singer that features a dramatic sound and a chance for Brandy to really show of her vocal ability. The message of the track lyrically is very simple, as we find Brandy telling her man that she wouldn’t be anything without him, and therefore she cannot lose him. The purity of the message is powerful and makes the song simply catchy, with Brandy giving us a vocal performance that lilts and flows in a way that makes every word feel like she really believes what she is saying. The tone of the whole track also allows for the singers voice to rise and fall in a powerful way that is great to listen to. The percussion of the production is perhaps a little heavy, but the sound adds some drama to the track, whilst the use of the piano brings heartfelt sincerity to the song, and so this is an accomplished ballad.

3.5/5

Track 8- Put It Down (featuring Chris Brown)

Put It down is the records lead single that saw Brandy finding some renewed musical success, particularly in terms of her charting in the top ten of the Billboard Hot RnB/Hip Hop songs for the first time in ten years. The song is a fun, up tempo RnB track with a sound that is led by heavy bass. The track finds Brandy complimenting a potential lover on the way that he conveys himself, and stating that if he keeps this up then maybe they might fall in love. The song is backed by a slightly repetitive but catchy chorus, and the track is really catchy in the way that we are shown different levels of Brandy’s vocals, with the verses being a bit more forceful and the chorus being slightly ethereal and airy in tone. Chris Brown brings us a cheeky and fun rap section that compliments the airiness of Brandy’s vocals, and with the snappy production and addictive beats, it is easy to see why this track was chosen as the lead single and why people liked it so much.

3.5/5

Track 9- Hardly Breathing

With a swirling electro intro that feels slick and futuristic, Hardly Breathing quickly develops into a sensual RnB affair with a slight electro pop feel. The song finds Brandy telling the listener and this guy of how she is hardly breathing because this relationship isn’t working, but that does not mean that she will end up being heartbroken. The message has this nice two fold quality of being strong in resolution but vulnerable during the experience, with Brandy’s vocals nicely bordering the line of fragile and confident, with the multi layered style of the vocal elevating the lyrical message a little bit more. The snappy guitar rhythms infused with some quirky electronic production gives the song a forceful but also euphoric feeling sound that compliments the vocals and message nicely.

3.5/5

Track 10- Do You Know What You Have?

Featuring production from current hit making producer Mike Will Made It, Do You Know What You Have? is a smouldering RnB pop number where the singer calls out her man for not being how he should be and not really returning her affections. The message is potent and strong in terms of the stop and start, snappy rhythm of the lyrics combined with the light, smooth vocal performance that exudes confidence, allowing Brandy to convey this sense of this guy not really seeing her brilliance. Mike Will Made It does a great job with the snappy but sultry feel of the production with the almost ambient synth notes and the lovely guitar based beginning and end.

3.5/5

Track 11- Scared of Beautiful

Ballad Scared of Beautiful is this intense affair that was co-written by Frank Ocean and finds the singer singing about herself and the growth that she has experienced, with an element of trying to be fearless being present. Although some of the lyrics are clichéd Brandy brings a gravity to the record that is powerful, and the vocals are nice in the way that in places they are quite understated, whilst in other places Brandy really shines vocally and brings more weight to the message, highlighting the singers ability to really bring out her personal pain within her music. The minimalist production with the simple, rumbling beats allows for the lyrics and vocals to take centre stage, making the ballad all the more potent.

3.5/5

Track 12- Wish Your Love Away

Another mid tempo RnB ballad, Wish Your Love Away is a break up track all about Brandy singing of her angst for a former lover who played her like a fool and who she wished she had never loved. The multi layered tones of the chorus brings out the fragility of the song, whilst the verses find Brandy singing in a really defiant, straight edged I hate you kind of way. The songs sound nicely uses some cool pan flute and serrated drums to create a snappy rhythm that allows the lyrics to be more impactful.

3.5/5

Track 13- Paint This House

The final full track on the album, Paint This House is a mid tempo RnB track that features some military drum like percussion and ambient synth notes that allows the album to finish in a forceful but slinky way. The song is all about Brandy singing about wanting to create this state were the environment around her reflects the feelings that her and her beau have for each other. At this point the slinky RnB rhythms do wear a bit thin and the multi layered sensual style doesn’t pay off in the same way, so whilst this is a thoroughly nice track, it is definitely a weaker offering on the album, so it is a good thing that we are now coming to the end.

3/5

Track 14- Outro

The Outro basically ends the record in the same state that the Intro began it, and is actually just the Intro repeated again, which makes it quite unappealingly.

2/5

Final Review

Two Eleven is a slinky smooth RnB affair that nicely dabbles with elements of pop, hip hop and electronic music. The songs sound is nicely carved out to sound contemporary but not compromise on who Brandy is as an artist. The multi layered style of the vocals gives an extra kick to the songs, whilst the singer can still belt out some notes and add diva ad libs to tracks in her distinct style. And with the lyrics being tightly structured around often catchy choruses and being quite emotionally powerful, this record is a strong musical affair that is actually much better than some of the works of artists who are bigger than Brandy today. Therefore even if this album doesn’t sell as well as it should, Brandy should be proud and happy in the fact that she actually makes good music built on artistry and passion.

8/10

Best Track- Put It Down (featuring Chris Brown)

Worst Track- Outro  

Justin Timberlake- The 20/20 Experience- 2 of 2 Album Review

 

 

 

 

 

 

 

 

 

 

Album- The 20/20 Experience- 2 of 2

Artist- Justin Timberlake

So apparently Justin Timberlake had a flood of creative energy after his musical hiatus, as he quickly followed up his third studio album with his fourth, which also acts as a sequel to the third record. Here Timberlake once again gives us a range of experimental tracks designed to create this fun and interesting music experience. Whilst many people are probably really happy about another Justin Timberlake record being released so quickly, the question remains of whether this album is a worthy second act, or whether Timberlake should have kept these songs and worked on them for a better album?

Track 1- Gimme What I Don’t Know (I Want)

Opening track Gimme What I Don’t Know is a funky, heavy RnB pop number that immediately shows that this album is going to go a bit deeper and be a bit different from its predecessor, as here the singer is more obviously sexual and suave. The song focuses on Timberlake telling this girl to come over to him and give him what he both knows and doesn’t know that he wants, with the lyrics having an animalistic quality. The chorus doesn’t grab you the first time, but after repeated listens the song is quite catchy, and for those fans of Timberlake who like the singer’s charm, then this will be a great song to hear live. The singer’s vocals are smoothly layered and have a sultry but intense feel that perfectly melds with the lyrics. The track’s sound is good and quite intense with a snappy RnB beat and heavy synth notes, whilst the song also feels like more of a complete package rather than an annoyingly long track.

3.5/5

Track 2- True Blood

With a title like True Blood Timberlake really signals that this is an intense affair, and indeed it is. The song works well being placed after the previous track as the song follows the same kind of sensual, animalistic lyrical tone, as here we find the singer reflecting on this girl having this true blood that makes her irresistible. The songs vocally a bit hit and miss, as sometimes the singer goes a bit too deep but at other times he uses his range really well, with the use of Auto Tune also adding an interesting texture to the chorus that makes the song catchy. The song has more of an electronic sound with a slight exotic feel and a pulsating beat that intensifies the track, whilst the bridge nicely evokes the work of Michael Jacksons Thriller with the use of funky guitar riffs and sharp strings for a dark, moody sound. The final three minutes of the song is the only major issue, as this final section feels much more self-indulgent rather than adding anything to the track or making it more exciting for the listener.

3.5/5

Track 3- Cabaret (featuring Drake)

Teaming up with Canadian rapper Drake, Cabaret is a thumping RnB pop song with a slightly soulful edge to the production. Here we find Timberlake singing about how his girl impresses him with her body and the way she moves, with the song having a simplistic tone that is elevated by the smooth and sophisticated charm of the singers vocal. Within the song Timberlake nicely deviates from really holding the notes to giving us snappier moments, creating a vibrant feel to the track that makes it more appealing. Drake provides a fast paced rap for the songs bridge that adds a nice urban sheen to the song, and although the wobbling beats of the production and clicking instrumentation is slightly typical of the singer at this point, it is a sharp sound that suits the overall feel of the track.

3.5/5

Track 4- TKO

After singing of how great his girl is in the last track, Timberlake seems to do a u turn with TKO, in which this girl has suddenly gone cold with him and he is knocked out by his feelings and the way that the relationship has turned. The song is slightly more lyrically refined than the previous track with a solid and catchy pop chorus that is nicely contrasted with the sharpness of the lyrics in the verses. Vocally the singer gives us a smooth layered style that makes the lyrics have a greater impact on the listener. Producer Timbaland brings heavy drums and scratchy beats to the production that creates an intense sound that matches the lyrical tone, and although the song is reminiscent of the singers older work, he manages to give it a modern update and still remind us of why we loved him in the first place, with the only problem being that the last minute of the song again could have and probably should have been cut.

3.5/5

Track 5- Take Back the Night

Lead single Take Back the Night is a funky disco and RnB track that focuses on Timberlake addressing a potential lover and trying to get her to move and dance. Lyrically this is perhaps the least focused song on the record, but with a light hook that makes the song extremely catchy, things are still appealing. Timberlake’s charm abounds within the track as his smooth and light vocals work well with the bouncy disco rhythm. The songs production nicely gives a throwback essence to the song that shows the singers love for Michael Jackson, with thumping bass and stirring strings, whilst the horn stabs at the end act as a lovely outro for the song.

3.5/5

Track 6- Murder (featuring Jay Z)

US rapper and Timberlake’s friend Jay Z jumps on board for Murder, which constitutes the third collaboration from the pair this year. The song finds Timberlake simply singing of how this girl has this confidence and appearance that makes her a murderer through her looks, whilst he also tells the girl to be wary of this. The lyrics are sharp and catchy but the singer’s vocals don’t quite hit the mark this time as some of his charm is lost and he just seems to kind of float along vocally. Jay Z provides a short but fun rap for the track that brings an extra flavour to the song, whilst the snappy percussion and vibrant beats of the production creates a simple but quite groovy sound for the song. It is a nice track, but it is probably the worst out of the three Jay Z and Timberlake collaborations this year.

3.5/5

Track 7- Drink You Away

Third single Drink You Away finds Timberlake settling more into his Tennessee roots for a track that features a different, more guitar driven sound and which has a prominent country vibe. The lyrics of the song detail the singer’s troubles in forgetting this relationship he was in and this girl he once loved, with the chorus focusing on how he has tried various alcoholic drinks but nothing works to make him forget. With a simple chorus that is nicely contrasted with the softer verses the song is very catchy, and the lyrics are also smart in the way that the singer subtly addresses his Tennessee roots. The vocal performance is smooth and passionate and finds the singer in a comfortable groove, whilst the stabs of the guitars and the forceful rhythm makes for a strong sound that shows the singer can do different styles, and that potentially a country album from him isn’t that strange an idea.

3.5/5  

Track 8- You Got It On

Once again Timberlake focuses on a single girl who has this power over him, with You Got It On finding the singer telling this girl that she has got all the right assets and that they will always end up in the right place within their relationship. Lyrically the song is nice and simple, but the singer’s vocals definitely elevate the songs ability to keep the listeners attention. This is because Timberlake uses his higher register to great effect, and the vocals are also layered to give the song a further sensual edge. The wiggly synth notes and electronic flow of the track creates a smooth RnB feel for the song that compliments the lyrics, and so for people who haven’t been won over by the singers charm yet, this song might just do the trick, particularly when the string heavy outro kicks in.

3.5/5

Track 9- Amnesia

The opening of Amnesia starts where the last track finished off in terms of a string heavy sound. But then the songs scratchy beats and clicky production kicks in to give a more subdued and melancholic flow to this track. The song is more narrative led lyrically as Timberlake details this situation in which he seems to have lost the memories and the love that he had for this girl, which she is trying to make him remember. In terms of the songs placement on the album it is great, because coming after the last track this song definitely shows a different side of the singer, with the vocal being a bit deeper and the singer bringing out the pain of the track beautifully. The use of the strings brings out the weary tone of the track nicely but the sound is a bit bland in terms of being typical Timberlake, and the song also suffers through the prolonging of the track to its seven minute length.

3/5

Track 10- Only When I Walk Away

From the guitar heavy opening you know that the singer means business, and once again we get a track that shows off a bit of a different side to the singer and shows that his typical RnB pop style isn’t the only sound that he is suited to. Vocally the song is processed to have this cool, gritty texture that makes the passion of the song that more potent to listen to. Lyrically the song finds Timberlake simply telling the listener of this girl who is a bit crazy in that she only loves him when he is actually not there for her. The chorus is simple and will resonate with people in a crazy relationship, whilst the vocal does feel very emotive. The song utilises aggressive guitar riffs and heavy bass for a slightly more organic but still RnB infused sound that is fun and maintains your interest in the track, although not for seven minutes.

3.5/5

Track 11- Not a Bad Thing

Not a Bad Things is a light RnB pop song that is quite sweet and once again brings diversity to the record. Timberlake sings of how people get hurt in life but if this girl falls in love with him she shouldn’t act like it is a bad thing, because he will supposedly treat her right. The lyrics definitely benefit from the singers light tone, and as the singer shows off his range he brings a sense of warmth and sincerity to the lyrics. The acoustic guitar loop and snappy percussion gives a safe but nice sound for the track, whilst also creating a nice flow that makes the song definitely sound very sweet and meaningful.

3.5/5

Track 12- Pair of Wings (hidden track)

Hidden track Pair of Wings starts around the five and a half minute mark of Not a Bad Thing. The song is the most acoustic offering on the album and follows on from the previous track in terms of the lyrics. This is because once again the singer is telling this girl that he will be there for her, with the song focusing on Timberlake telling his lover that if he had a pair of wings he would take her far away and just love and protect her. The song shows a lovely (if a bit soppy) side of the singer, and his voice really shines with the simple backdrop of the light acoustic guitar and some soft strings.

3.5/5

Final Review

It is difficult to fully establish whether The 20/20 Experience- 2 of 2 is actually a better album than its predecessor. In one sense the album definitely is. This is because, aside from a few tracks, the problem of annoying track lengths and musical indulgence on Timberlake’s part is avoided. We are given an accomplished set of nice RnB pop tunes that is made stronger by the singer’s undeniable charm. However, the album definitely lacks big impressive singles and other standout songs that the previous record had, whilst there is a slight of a lack of progression from one album to the other. Ultimately it comes down to simple personal preference as to if you think this record is a better follow up, and for me it is.

7.5/10

Best Track- Drink You Away

Worst Track- Amnesia