Calvin Harris- 18 Months Album Review

 

 

 

 

 

 

 

 

 

Album- 18 Months

Artist- Calvin Harris

Calvin Harris was the musical maestro of 2012 that everyone seemed to finally get after his Rihanna collaboration, and so everyone wanted to collaborate with him. But whilst he undeniably produces some awesome dance pop numbers, I decided to listen to this record as I was unsure whether is sound could survive as a fully fleshed out, solid piece of album material.

Track 1- Green Valley

The opening track is a simple, atmospheric opening that kind of emphasise the epicness of the sound that Harris tries to make with everything he records. And whilst the vocal “oh” repetition of the track just sounds annoying rather than pleasing, the cool electro undertone of the track and the adding of clattering, slightly RnB twist makes for a good opening that sounds both cool and weird at the same time, and does the job in kind of getting you to want more.

3/5

Track 2- Bounce (featuring Kelis)

The first proper track and lead single is a light and fun electro pop dance affair that features some great vocals by Kelis who really brings out the have fun and just live life ideology of the track to the fore through her light and distinctive vocal tone. The light and fresh production of the track with its not overpowering but simply enjoyable electro beats make for a nice frivolous energy that you can enjoy in different places equally, like on the dance floor or in your car. And with tight lyrical messages, this is a really great opening number.

3.5/5

Track 3- Feel So Close

One of the few tracks on the record where Harris takes on both production and vocals keeps with the same light energy flavouring of the previous track and so works well in terms of placing on the record as a whole. The simple and rough but light vocals give a sweet sincerity to the track that makes for an enjoyable listen. And the sweetness of the track lyrically is also simple but sincere and just a tight chorus based message that never tries to be too deep. But as with many of his tracks the best thing about this is the production, with the balance of high power energy with down tempo, chill moments being struck perfectly and just giving a really fresh sound to the song that makes the idea of feeling so close that bit more tangible.

4/5

Track 4- We Found Love (featuring Rihanna)

Although originally composed and recorded for Rihanna’s sixth studio album Talk That Talk, this track indeed works with the overall sound of the record. And it probably makes sense to have it on this record because it was the song that launched Harris into the worldwide musical stratosphere in a more concrete way than before. And one listen of the track is enough to see why. Although some may find the lyrical quality of the track lacking as it is very minimalist, that is actually the beauty of it and what makes for a stick in your mind listen. The light but powerful production is immediately recognisable and attention grabbing, and makes for a head banging, you just have to get up and dance post chorus moment that is so frivolous and fun it feels like a musical drug. And featuring such a light and great vocal performance that is among Rihanna’s best, I definitely feel that this is a song that will be remembered and will stand the test of time.

5/5

Track 5- We’ll Be Coming Back (featuring Example)

This track about coming back for a lover maybe would have worked a bit better with a different artist. This is purely because Example is just a much cooler rapper than he is a singer, and whilst his light vocals work quite nicely in the chorus, they feel a bit stretched in the chorus and just don’t have the power that the song should have. The production is also a little bit mmmm in that a bit musical variety could be needed at this point. However the energy of the track is good in terms of the non-vocal sections of the track, with a slightly powerful bass and a good dance energy, and the lyrical content is cool with a nice pop hook that is quite memorable. The breakdown into the final verse is also a nice if small moment.

3/5

Track 6- Mansion

This is a cool electronic interlude that sounds really cool and features great electro pop groove that follows the line between dance and chill. The way the track then diverges into a kind of monster, powerful beat that progressively gets more up tempo is forceful and a nice twist, and though prolonged a little it is a strong musical interlude.

3/5

Track 7- Iron (featuring Nicky Romero)

This collaboration with Nicky Romero features a lyrically sparse production driven sound that is club banging powerful and features some cool, dubstep flavoured wobbles. It’s a high octane track that is really cool and a bit different in that it’s not focused around a strong lyrical core like the other tracks. One to listen to and get a feel of for yourself.

3.5/5

Track 8- I Need Your Love (featuring Ellie Goulding)

This collaboration brings the world of Goulding and her loved focused lyrics to Harris dance orientated mind for some pretty good results. The electric guitar opening makes for a euphoric introduction that compliments the lyrical content of the track. These lyrics are very much love orientated and so are quite easy to remember but are a little bit throwaway and don’t feel as strong as some of the other lyrics on the record. However the production value of the track really works here, with the post chorus dance sections having a lightness to them that many will enjoy and complimenting the more chilled but still fast paced verses. The vocals of Goulding aren’t necessarily as powerful as they are on some of  their records but a her natural light tone makes for a pleasant listening, with the final chorus being subtly played to have that sense of without your love I’m vulnerable. A good track that compliments each artist.

3.5/5

Track 9- Drinking from the Bottle (featuring Tinie Tempah)

This track is a light dance pop number that features some tongue in cheek rapping by Tempah and is all about celebrating life using the metaphor of drinking from the bottle. The track is a bit lacklustre compared to some of the other songs on the record as the beats just feel too familiar and the transition of chorus into verses just don’t excite in the way that other songs on the record do. Maybe this is due to the guest artist, who whilst producing some cool rap verses, kind of lets the chorus down as it doesn’t have the vocal power that it perhaps requires. So this has to be one of the weaker moments of the record.

2.5/5

Track 10- Sweet Nothing (featuring Florence Welch)

This dark and atmospheric number came after Harris did a superb remix of Florence and the Machine’s track Spectrum. And they work their magic again on this number in which Welch speaks of a romance that has no depth. Although the light vocal performance set against ever building dance beats are familiar Harris territory, the track has a darker undertone than previous tracks and harsher beats that make for a different kind of dance track that is club ready but also kind of tugs at the heartstrings that little bit and is something that people can maybe identify with. This is particularly a result of Welch’s input as her vocals have that distinctive flair that makes the idea of her living on “sweet nothing’s” much more believable. The lyrics are also quite metaphorical and free flowing but astute, making for a more addictive listen than some of Harris’ other tracks. And whilst the heavy beats build, so does the vocal, and so the track just becomes more magical because of it.

5/5

Track 11- School

Another short musical interlude, this track is refreshing in that it has that kind of Harris looking back to the sound of the past kind of vibe. The song, although very electro pop and current, has that kind of 80’s groove to it with a slight RnB tinge that makes it a great song to listen to if you just want to take a short break from something. Definitely the best of the short, non-vocal tracks on the record.

 3.5/5

Track 12- Here 2 China (featuring Dillon Francis and Dizzee Rascal)

The scratchy production of the opening and the booming, harsh beats that permeate the track make for an urban sounding track that shows a little bit of Harris’ roots as well as Rascal’s. The track features some really fast paced lyrical rhymes from Rascal that are attention grabbing and cool, whilst the hook of the track has that gangsta, I go all around the world feel that is really catchy and gives a nice groove to the song. The only thing about the track is its quite short so doesn’t feel as musically tight as some of the other songs on this record. However it makes for a nice change of pace from the club banging musical collaborations that really power the record.

3/5

Track 13- Let’s Go (featuring Ne-Yo)

With Ne-Yo’s  smooth RnB voice set against Harris’ high octane dance beats this is a fun track that is all about just having a good time and forgetting about all the stress of life. The lyrical content is lacking a bit but what is here really works well with the vocals, with Ne-Yo’s vocals contrasting well with the forceful power of the dance beats. And whilst the song follows the same formula as Harris’ other tracks the song manages to keep a good energy throughout, even if it feels familiar.

3/5

Track 14- Awooga

Awooga is one of those high octane dance tracks that is purely a beat based extravganza with no lyrical or vocal content. So in that sense I feel like I don’t really get it, just because I don’t get those kind of tracks in general. And what I also felt is that it harked back to some of Harris’ older sound, which makes sense since it was recorded quite a while ago. And so for me this is probably the weakest track as it doesn’t feel as current as the other tracks and doesn’t quite have the energy it should command.

2/5

Track 15- Thinking About You (featuring Ayah Marar)

Featuring a long-time collaborator of Harris, the final track is a sweet number laden with a cool dance beat that is so Harris but also sounds quite light and refreshing and doesn’t go into mega dance mode, which is a nice change. Whilst the lyrics are quite cliché the vocals have that cuteness and light tone that makes the track feel fun and relatable, and it’s just a nice end that you can easily maybe chill out too as well dance along to.

4/5

Final Review

I was really worried once I started listening to this record that after a certain point I would just get bored. But Harris does actually make an engaging record that features a distinctive sound whilst drawing together a variety of different artists. There are occasions when the formula is too familiar, but on the whole you can’t help but love his sound, and he offers hints of diversity in places that is enough to satisfy the need for diversity. And in most cases the featured artists really step up and bring a great feel to the track as a whole. The breaking up of the record with short musical interludes is also a nice change of pace and actually adds to the record. So a good third album, and producing some truly amazing material.

8/10

Natasha Bedingfield- Strip Me Away Album Review

Album- Strip Me Away

Artist- Natasha Bedingfield

Natasha Bedingfield hasn’t had the success as an artist that she used to have. This European version of this third studio album went pretty much under the radar, and it is not much different to the American version except from the fact that she finally releases Pocketful of Sunshine in Europe. Even in America this album hasn’t done well. But is the music the reason why this artist has gone under the radar, or are we just missing some good music in the public sphere?

Track 1- Pocketful of Sunshine               

The platinum selling song actually featured originally on the American version of her second studio album but was released as a single in Europe to promote this album. It’s a cool pop dittie that features an easily memorable hook and great contrast of fast paced lyrics and vocals with powerful, lyrical and vocal lamentation. It’s also really breezy in terms of both the overall message and the production, which features simple acoustic guitar and subtle groovy beat. The only thing is that on this album it kind of feels a little wrong and can seem like just an add on, which it basically is, so it loses that pizazz a little.

3/5

Track 2- Little Too Much

The first proper track on this album in my opinion is a sweet number about the twists and turns of love. Lyrically the song is very cliché driven with a reference to a white flag being beyond stereotypical, but the overall sentiment works, and vocally the delicacy and tone of her voice shines and delivers the song from the depths of blandness. And blandness is also equally avoided through the production, with its cool pace driving drum beats and all- round nice acoustic feel that makes this track feel like a romantic comedy number (indeed it was chosen as the theme song for the romantic comedy Something Borrowed, another sweet if predictable media offering).

3.5/5

Track 3- All I Need (featuring Kevin Rudolf)

This up tempo song provides relief from the lightness of the previous songs and works great in that it doesn’t try to be empowering but in a way is. Lyrically it’s all about Bedingfield letting go and being totally happy with what she’s got, and whilst the sentiment could be corny she pulls it off and makes us be kind of grateful for what we have. And the lightness of the verses vocally really help to elevate the powerful chorus with its simplistic structure. The drum beats and powerful production plays well with the tracks sentiment and gives an almost dancey feel to the song. The only potential problem with the song is the Kevin Rudolf “Let It Rock” sample: for me it feels weird but also very much works, but some listeners may find it unnecessary and just too weird.

3.5/5

Track 4- Strip Me

The album’s title track is unfortunately a song in which Bedingfield tries to be more blatantly empowering but struggles to do so. The lyrics feature really cliché ideology driven chorus that is to blatant it is bland, and the vocals, although light and fresh so pleasing, just again try to strive for this too empowering ideology. The clattering drums and guitar of the production is another empowering element that just feels much done before. It could be a much worse listen overall than it is but it’s still pretty bad.

2/5

Track 5- Neon Lights

This mid tempo, cute number provides a nice contrast with the forceful nature of the previous song, and is a happy song that is light and unassuming. It brings the album back to sounding a bit better, with the clattering drum beats sounding lighter and more pleasant overall, with dipping into more prominent guitar production in the pre chorus sounding nice and fresh. The light vocal tone sound sweet and makes the loving nature of the song come out a little more and sound sincere, particularly within the line “can you feel my love”. The track employs some quite stereotypical cute imagery but lyrically the fast paced nature is pleasing and has a natural lightness. And the song is good in that it never tries to be too powerful. The guitar instrumentation at the end also gives a small but frivolous end to the song that makes you just want to float around and dance in a weird way.

3.5/5

Track 6- Weightless

This light, up tempo track is one of the album’s highlight and lyrically speaks of just shedding the material things in life and all those things that just tie us down and embrace our individuality and feel free. The lyrics are real sing along ones that feel a little retrospective and wise, whilst having a lightness to them (particularly in the chorus) that is refreshing and attention grabbing compared to some of the other tracks. The vocal tone of Bedingfield really allows her message and lyrical content to flourish, and this is also really helped by the background vocals and fast paced but light production beats that just sound so nice and lovely. An album highlight that also really becomes more powerful as it continues as so by the end you can’t help but feel a little bit happier.

4/5

Track 7- Can’t Fall Down

The album’s first ballad features some cool synth production that gives a nice, vulnerable tone to the track in which Bedingfield lyrically speaks of just staying small and not trying much in order not to get hurt in life. Although the lyrics are a little cheesy in their sentiment the simple chorus brings the message across in a nice and kind of direct way, and the adding of drum beats from the first chorus onwards gives a powerful edge to the track that makes that sense of delicacy a bit more believable, although not entirely. The vocal performance is light and slightly chilled but perhaps doesn’t bring out the song’s lyrics as well as it could and so feels that bit lacklustre.

2.5/5

Track 8- Try

The down tempo flavouring of the record continues with this chilled out ballad that speaks of not giving up on a relationship. The power of the record lyrically feels a bit bland as it feels very much like a sentiment many people have spoken on before. However the vocals of this track unlike the previous number kind of save the song, prominently because of the variation key between the verses and chorus that gives a more heartfelt and passionate tone to the song, with the final verse with it’s lyrical repetition in the background having an attention grabbing feel and making for a powerful and rousing end. The production with it strong drum bass and light but forceful guitar makes for a forceful sound overall that’s quite nice, with the delicate piano being a nice juxtaposition.

3/5

Track 9- Touch

This up tempo number features storytelling verses against a simple idea of fun and just living life in the chorus that makes for a fresh and high energy track to enjoy. The lyrics are kind of audience encompassing in that they have that everyday feel to them that is nicely identifiable, with the chorus being a simple, this is life statement piece that indeed fits well with the album’s title as it strips away all that complication of life. And with the cute vocal tone employed within the track and the freshness this that the vocals bring, as well as the fast paced electronic beats and nice electric guitar production, you can’t help but just be sucked in by the enjoyment of this track and feel better because of it, with the way the track simply burns out being a nice way for you to unwind and then chill.

4/5

Track 10- Run-Run-Run

This mid to up tempo record is all about being able to live life but never being able to escape the love of that special person. Whilst the lyrical repletion of the chorus is catchy, the verses aren’t as attention grabbing, and the vocal acrobatics of the post chorus feel a little bit boring. However the hand clapping, head bobbing beats of the track make for a good listen, with the electro beats employed within the final verse giving a nice modern flavour to the number that is subtle but appealing. And whilst her vocals aren’t necessarily attention grabbing in this track they bring out the sweetness of the song quite nicely.

2.5/5

Track 11- Break Thru

This ballad number is all about needing someone special to feel better in life and doing anything for them in order for the relationship to have that break through moment into true happiness. The chorus offers some bland imagery but the sentiment of the final line is potent, and the verses offer some nice hurt ideology that again is bland but not too boring. The tracks production keeps a chilled but powerful energy that features some cool electro pop beats that give a bit of musical diversity to the record, even if it doesn’t necessarily sound great. The vocals are a bit so so, with the final chorus sounding like it stretches the singer a bit too much.

2/5

Track 12- No Mozart

This slow, mid to down tempo number is a cute love track in which Bedingfield speaks of how her love doesn’t have to be perfect, things just have to come from the heart. The track feels much better than the last song, perhaps just because it’s lighter and so fits more nicely into her wheelhouse. And with her light vocal tone the idea behind the track becomes more sincere and warming, making for a great listen. The metaphorical and sweet lyrical content is here quite astute and sound more refreshed than other songs. And keeping the production simple with nice drum beats, some cool violins and light piano instrumentation makes for a good overall sound that never becomes too overpowering and makes the song just all-round sweet and lovely.

3.5/5

Track 13- Recover

This vulnerable ballad is all about the survival of a relationship even after all the pain that has superseded it. The songs painful imagery laden lyrics are stereotypical but against the lightness of her vocals they sound sincere, with the simple structure of the chorus giving that sense of willing to fight for love. The only real issue of the track is the way that it builds in sound in terms of the powerful drums that just become more forceful as the track continues. Whilst it works with the song’s message it’s a bit stereotypical and so isn’t as powerful as it potentially could be. Still a good track that works well as an album end, and probably should have also been the end of the European album version just like it was for the US version.

3/5

Track 14- Weightless (Less Is More Version)

The acoustic version of one of the records best track showcases the natural prowess of Bedingfield’s vocal ability really well and whilst not necessarily sounding to different to the original it does bring out the stripping away yourself message of the track just that little bit more, and so in that sense sounds refreshing. It’s one of those acoustic versions that actually sounds good on the record and doesn’t feel like they’ve just tried to flesh out the album so people will buy it, and definitely a good choice of track.

3.5/5

Track 15- Put Your Arms Around Me

The album should have finished beyond this point and so regardless of how good this track is the record just feels to long and so suffers because of this. That said the track a sweet ode to love in which Bedingfield just wants to be wrapped in the tender love of her lover that feels so good and that she thinks is eternal. The vocal layering in the chorus is nice and the acoustic feel of the track gives a nice sweet and chilled out vibe that builds upon the simplicity of the love that is presented.

3.5/5

Track 16- Unexpected Hero

The final track feels very stripped back and in that sense almost doesn’t sound like a studio track. But unlike the proper acoustic track on this record, this song just feels bland, and it’s simple to see that it just kind of fleshes out the record. Enough said about this the better I would say, and just listen to see if you like it or don’t

2/5

Final Review

It makes me a bit sad to listen to this record as Bedingfield actually sounds really good and so it’s sad she just kind of puts the album out in places other than America to little fanfare. But that’s really her fault, because she kind of did ditch us for America. However, whilst in places this record feels bland and stereotypical, a cohesive sound and some nice pop tunes make for a good listen that more people really should buy.

7/10

The Lumineers- The Lumineers Album Review

 

 

 

 

 

 

 

 

 

 

Album- The Lumineers

Artist- The Lumineers

The Lumineers have massively risen in popularity during to the break out success of their hit track Ho Hey that features a powerful but simple hook. I decided to check out their album to see if their good musical rhythms and folk rock sound could translate into a fully thought out, beautiful debut.

Track 1- Flowers in Your Hair

The opening track is a simple chilled out number that acts as a short intro the record. The lyrics of the track act as a storytelling piece as well as a retrospective of the power of love. The fast paced lyrical content really builds, as does the sound of the track as the acoustic guitar becomes more up tempo and the bass drum gives a strong power to the song. The vocal performance is sweet and heartfelt with a good hook centring the track into a nice love song territory. It may be short but it doesn’t feel that way, which is great in showing that they know how to not drag out a track unnecessarily. A good opening.

3/5

Track 2- Classy Girls

The opening of the track gives a cool live feel to the number that makes the powerful vocal beginning more punctuating. Whilst the track has that building quality of the previous number, this one feels a little bit more fun and letting go in sound, with the prominence of the violin and bass giving a real crowd pleasing sound to the number. The vocals are cool in bringing out the message of the track in terms of the guy not being classy but trying to fall in love with a classy girl. And it’s fun in that it doesn’t necessarily have a concrete lyrical centrepiece but plays well with the idea of those girls who are all about looking after themselves.

3/5

Track 3-Submarines

The clunky piano instrumentation of the track gives a nice powerful sound that is met with some powerful drum beats and just gives a fun, kind of weird edge to the song. The song never matches the production pace vocally and so gives a nice contrast, although it’s difficult to decide if the sound is a little overpowering. And whilst the lyrics are metaphorical they are cool but also annoyingly difficult to find meaning in, depending on your point of view.

2.5/5

Track 4- Dead Sea

This powerful number is a simple but progressively grand number that is all about love being really great through the metaphor of the Dead Sea. The powerful sound with its melancholic violin but cool acoustic guitar and just building sound makes for a smart track that feels very sing along, particularly with the great use of vocal echoes. The vocal performance as a whole feels very natural, with the high key middle section and silence of the track after this point making for a really powerful end that elevates the track to a different level than the previous numbers. And the lyrics will really touch those in a good relationship and has that slightly convoluted but also perfectly simple edge that allows for a wide ranged appeal.

3.5/5

Track 5- Ho Hey

The records lead single is a sweet and chorus catchy number that definitely acts as a perfect introduction to the record and the band. The continual motif of the song with the choral voiced “ho hey” makes for an immediately attention grabbing track that is really simple but really effective. The lyrics of the verse feel really heartfelt and have that this is what it could be storytelling flavour, whilst the chorus is a simple line repetition that is so pure you can’t help but sing along. And this is helped by the light vocals which just give a welcoming feel to the track. Furthermore the guitars and drums are equally simple and pure, giving a forceful sound but never overpowering the track in anyway, with the banjo instrumentation also giving a really nice, almost spontaneous tone. Definitely deserving of all the success it has had.

4.5/5

Track 6- Slow It Down

Set against the frivolity of the previous track this song really packs a punch. It is a slow, emotional ballad that features a superbly simplistic musical composition and a rough but powerful vocal performance that really makes the song feel special. The way the song changes key in from the first verses into the chorus really gives that sense of warmth and I am your home feeling to the song that really sits with the listener. And the lyrical quality of the song is really powerful, with chorus holding that simplicity and cuts straight to the heart. The track features really simple acoustic guitar that just keeps a really chilled out but powerful tone that fits the message of the track perfectly. Definitely a highlight, particularly in terms of its placing on the record. And whilst this track is 5 minutes long compared to the shortness of previous tracks, it never feels like that long of a song, which is superb.

4/5

Track 7- Stubborn Love

The stop and start acoustic guitar and slow violins make for a weird but interesting, slightly melancholic opening that is grabbing. The sound of the track feels in the same vein of the lead single but just more subdued and more heartfelt, at the same time vulnerable. The sweetness of the track really comes through in terms of certain lyrics, showing how the track is based upon love. And the lyrical content of the track shines in terms of the way it almost feels like we are listening to a man talking to his lover. The vocal are nice and smooth, with the deep vocal of the hook giving a nice tone and that sense of I love you. And whilst the sound is similar to some of the others on the record the more subdued tone works nicely, even if the building of the song is very familiar and therefore lacks a little power, although the violin closing is a really good end.

3.5/5

Track 8- Big Parade

The hand clapping production of the tracks beginning makes for a nice atmosphere to the number that makes it feel like a crowd affair at first, and then the way the simplicity of the number shines through makes for a nice musical energy that feels chilled and fresh. The way piano is introduced gives a slow burning vitality to the song, and this divergence from different tempo’s in the song just makes for a good listen that feels different to the other songs on the record, even if the bass and guitar sounds very familiar. The lyrics feature a catchy line of “oh my my, oh hey hey” that is kind of like a musical worm in your mind, and gives that live track feel to the song, which is also helped by the joining of vocals in places and the hand clapping beats. And the vocal tone is also really inviting as it just as that chilled out lightness that is really enjoyable. The track is a bit long, but doesn’t end up for you wishing it to just end, and therefore works.

3.5/5

Track 9- Charlie Boy

The guitar instrumentation of the tracks beginning gives a kind of Italian Riviera kind of feel to this track in my opinion, and this cool, atmospheric kind of guitar permeates the track throughout, making for a nice listen. The lyrics about the idea of relationships feels like a wise declaration of what love is and so makes the band seem retrospective. This is also shown in the deep vocal tone of the track and the violins that are employed in the song, as it makes for a sombre, I am looking back on my life kind of tone. It just is a really nice chilled out track that at the same time feels quite powerful, and so is really enjoyable, and doesn’t feature the band trying to go for a big sound that shouldn’t be there.

4/5  

Track 10- Flapper Girl

A nice, down tempo tone continues with this track in which a guy talks of wishing to be reunited with his lover. The track feels cute but sincere and just has a nice chilled out sound with the piano instrumentation and tambourines that give a kind of sing a long lounge feel to the track. And the lyrics are definitely helped by the rough but light vocal tone of the bands lead singer, which definitely gives a sense of vulnerability and sincerity to the track that wouldn’t necessarily be there if a random singer had sung the track.

3.5/5

Track 11- Morning Song

The closing song is a slow ballad that features some cool use of electric guitar and powerful bass drum beats that give a kind of epic sound to the track. The lyrics are a haunting lamentation of a lost relationship and the hurt that the singer feels over this, and this is conveyed within the melancholic tone of the production which allows for good breaks in the vocals that really let the message of the track sink into the listeners mind. Whilst the track may be a stereotypical down tempo closer the vocals make it feel more heartfelt and the sound is just nice, not trying to be blatantly powerful but still managing to do so. And the final key change moments of the track really make for a I am hurt powerful end that shows that the band still have more in them, but they’re not going to drag this album out just because of it.

Final Review

It’s slightly annoying that this band is only finding success now as they have been around for quite a few years now, and it’s definitely something that I’m annoyed with because I like so many people have just left them being unnoticed. But it’s just a sign that sometimes you need that one powerful song that is just so great people can’t help but notice. Luckily the group aren’t just a one song kind of artist and actually have made a really charming, assured debut that maintains there folk rock sound throughout and keeps a nice energy overall from chilled to upbeat and crowd rousing. And the lyrical quality is great, touching both sides of sophisticated and simple with great results. Definitely a band that you will hear bigger and better things of.

8/10

Neon Trees- Habits Album Review

 

 

 

 

 

 

 

 

 

 

Album- Habits  

Artist- Neon Trees

Neon Trees were an alternative but also mainstream band that broke out with their hit single “Animal”, for good reasons as the song was awesome. But their album maybe wasn’t as well received. I took a look back at it too see if it was a good record and if I should have just all round paid more attention to the band.

Track 1- Sins of My Youth

The albums opener begins with simple piano instrumentation and lyrical repletion in the form of the line “I’ve got these habits than I cannot break”. And this emphasises the power of the record as a whole in having that sense of fun in many cases and just going heavy with that fun. The lyrics feature a simple hook that invokes a sense of retrospective but also recklessness, and with his gritty tone lead singer Tyler Glenn really brings the lyrical forcefulness of the song to life. The clattering drums and aggressive electric guitar powerfully fuel this sense of fun and whilst a little generic work well in opening us up to Neon Tree’s sound.

3.5/5

Track 2- Love and Affection

This track builds up with it’s moody sounding fast paced drum sound and is then joined by a gritty vocal performance that paints picture of a rocky but love fuelled relationship. The lyrics speak of someone feeling neglected in a relationship and just wanting some love and affection. The pop hook of the title is nice and simple and gives the song a strong lyrical grounding, even if some of the ideas employed are perhaps a little on the generic side. But the hook is also easily memorable and so in that sense can get stuck in your head easy. The high key change gives a nice, almost pleading tone to the chorus and a little diversity in sound.

3/5

Track 3- Animal

The hand clapping beginning of this track marks it as a high energy song, and acts as the perfect debut single for Neon Trees. The booming chorus with a high pitched vocal does gives the sense of an animalistic tone, perfectly contrasted by the more subtle verses. That is until the second verse, in which lead singer Tyler Glenn goes full on animal mode. Whilst they may talk about wanting some more, this track definitely doesn’t leave you wanting more.

4/5

Track 4- Your Surrender

With the vocal performance of this track the idea of surrendering to love is definitely more palpable, with an interesting loving but sinister edge to the track that gives it a nice and unique twist. The lyrics are focused on the idea of loving another person and whilst the lyrics are good in terms of the hook they aren’t as sharp as the previous track as they have that bland, been done before feel. The production value is smartly downplayed with this track, contrasting nicely with the previous number, and the crowd clapping breakdown into the final section of the track is a good twist that makes for a punchy end vocally.

3/5

Track 5- 1983

The chorus of this song is really simple and easily memorable, and the cool refrain of ooh woah is a nice touch that gets stuck in your head. Only thing is that this track and Animal are a little bit similar in terms of production and the way they are sung, and so because of this 1983 loses some of its power.

3/5

Track 6- Girls and Boys In School

The electro opening of the track definitely gives a cool vibe to the number that makes for a sonically different undertone to the track that offers great diversity. And the moody nature of the track really compliments the vitality of the previous number really well, with the electric guitar and powerful drum beats just being that little bit more aggressive and so sound uniquely interesting on the record. The lyrics are a bit more retrospective with the hook being weird but cool and having that chilled out, sing along kind of feel. And whilst the vocals aren’t necessarily adding anything, the power released in the final section is really great, and really helped by the production which just becomes that little bit more frenzied.

3.5/5

Track 7- In The Next Room

The clattering piano instrumentation and simple electric guitar notes give a chilled out flavour to the track that compliments the power and vitality of the chorus well. It feels a little bit of a worn out side at this point potentially, but with the vocal range shown in this song the message of the track about losing control because of a certain individual becomes a little more forceful. The drum beats are a bit repetitive but cool, and the idea of the track is equally cool, if poorly executed.

2.5/5

Track 8- Our War

The slow burning, melancholic opening of this track with its cinematic monologue kind of opening is a powerful end to the album that stops the record at a good point so as to not allow it to get too stale, even if people think it’s too short a record. And whilst the clattering drums and electric guitar that features throughout the track is stereotypical Neon Trees, the melancholic vocal tone employed within the track feels a bit more passionate and so more resonant with the listener. And the lyrics feel more passionate with their broken relationship perspective that many will find appealing.

3.5/5

Final Review  

Neon Trees creating a distinctive sound that features a really good vocal quality over all and some powerful tracks that appeal to the listener. It’s also a cohesive record that, while short, is not prolonged and knows when to stop. The only down side is that some more astute lyrical ideas, subtle production diversity and a little more vocal variation and power would elevate the group towards worldwide dominating status. All in all an assured debut in my eyes that meant things could only get better really for album number two, unless they badly screwed up for some strange reason.

7/10

Maroon 5- Hands All Over Album Review

 

 

 

 

 

 

 

 

 

 

Album- Hands All Over

Artist-Maroon 5

The bands third studio album didn’t really set the world alight like their first two records did and signalled that they were going downhill, that is until the release of the great poppy song that is Moves Like Jagger. But was it really not a good record?

Track 1- Misery

The albums lead single is one of the most pop confections on the record. Adam Levine’s vocals give a sense of being in love but also in misery, which works great with the sentiments of the song. In terms of lyrical quality it’s not as great as some of the bands other work, being quite light and frothy so in a sense throwaway, perhaps an indication of why this single underperformed compared to previous singles. However the up tempo production value is really good, a steady drum beat and great use of guitar, whilst giving just a hint of soul to this song.

2.5/5

Track 2- Give A Little More

This track is better than the previous one because it has more of a soul feel to it which sounds more sonically pleasing, although that’s not to say the band can’t do pop, nor that this isn’t a pop song. But the track just all-round works better. The drums beats steady but a little bit harsher and the electric guitar comes out a little bit more within this song. The lyrics are also more astute, with the hook being simple and memorable, although the repetition could be perceived as a little annoying. Vocally Levine also works better on this track, with the slow lyrical stresses on the verses allowing for a punchy, catchy quality to the chorus.

3/5

Track 3- Stutter

This is more of a pop number than the previous track but is one song where the band shows they can do pop well, and is a song that produces a really feel good sound. The lyrics of the track are a tad clichéd but have a sense of fun to them and with the lyrical stresses of certain words it has a lingering tone that is appealing and gives the track that true sense of lead singer Levine stuttering in love. It is definitely Levine’s vocal performance that is the best part of the track, with the lightness of his tone having that sense of a love rush but the way in which he sings certain words, particular the sibilance of “stutter”, has a charming and appealing quality that gives that small hint of sexiness. And with the powerful bass drum and nice guitar rhythms the track just feels light and bouncy, having that rom com kind of feel that many will find appealing. Definitely one of the album highlights.

3.5/5

Track 4- Don’t Know Nothing

This track definitely sits into more of a soul pop kind of territory with the “ooooh” motif and old school kind of production, although the forceful bass beats and the subtle synths just give that modern flavouring. The tracks vocals are nice and light and don’t exactly have a great impact but have a bit of passion with the high vocal of the chorus. And whilst the lyrics aren’t really deep they do give off a sense of tug of war love that is appealing to listen to, if a little bland. ]

2.5/5

Track 5- Never Gonna Leave This Bed

This number is one of the strongest of the record, being a sweet ballad that has a sense of vulnerability but also conveys that idea of finding strength in the power of love. The lyrics are kind of storytelling and so have a sense of poetry to them, with the line “I’m never gonna leave this bed” having a nice, heartfelt quality. The light vocal tone of Levine really works within this track, giving it a tangible sweetness and I love you quality that will be very appealing to a lot of Maroon 5’s fan base. The production is also great in terms of the way that it builds within the song, being stripped back within the verses and giving way to powerful drums and guitar within the chorus that just strengthen the songs lyrical message.

4/5

Track 6- I Can’t Lie

The la la la vocal introduction and the smooth production mark this track as a typical love jam in which vocalist Levine exclaims that his girl is all he thinks about and that he can’t tell a lie, he loves her. The lyrics feature a nice hook but are extremely clichéd when it comes to the idea of love. However with his light tone and the wavering vocals of the chorus gives a nice charm to the track that makes it a little less bland, and the guitar strumming and simple drum basses keep the song ticking along with a nice groove, even if they are themselves stereotypical.

2.5/5

Track 7- Hands All Over

The title track is a smouldering sexual affair that features some cool synth bits and a darker melodic tone that is a welcome change of pace. The vocal performance of Levine is really great within this track, with the dipping between keys in different sections of the track offering a nice vocal build to the track and giving that sexy appeal to the number. The lyrics aren’t particularly strong in the verses but the simple chorus has a nice edge and a good hook that can really get stuck in your head. It’s just a good number that offers that nice little bit of diversity.

3.5/5

Track 8- How

This lamenting affair features some nice 3 note piano instrumentation that gives a great mood to the track from the very beginning. And whilst the steady drum bass and use of guitars sounds a bit too bland, the emotional level of the song works well with the production. Although his vocals are a little light a sense of heartbreak is still conveyed within Levine’s vocal performance. And in this song the lyrics are actually a bit more lyrically astute, holding the listeners interest and being built around a solid questioning of a relationship that gives a nice hook to the song.

3.5/5

Track 9- Get Back In My Life

The change of pace to a cool, up tempo groove offers a nice diverse sound to the record, making it a more capturing listener. The “ooooh” motif is cool if a bit stereotypical of the band, and whilst the lyrics don’t necessarily have the ear capturing effect of the other songs, the production value of the track makes up for this, with the electric guitar and drum beats having just a little more grit and moody feel to them that they sound more refreshing, with the little production breakdown in the middle section being that little bit powerful. The vocals are just alright, not really giving enough passion but doing their job, although the ad libs in the last moments of the song just sound lazy.

3/5

Track 10- Just A Feeling

The album shifts back into a down tempo melancholic tone within this number, but this track has a deeper overall tone and feels a little more passionate. Vocally this is a really nice number, with the key changes leading into the chorus giving that sense of Levine really hurting from this break up. And the lyrics are cool in that they employ some nice metaphors and have that storytelling quality that is relatable, with the only downside being that the hook might be a little annoying. The production keeps a nice dramatic tone, if yet again being just that little bit stereotypical that you can’t help but think that the band needs a different sound.

3/5

Track 11- Runaway

The deep vocals of this track within the verses against the chorus are nice, but apart from that the song is just a little bit boring, having a distinct lack of passion, bland production and already done before kind of lyrics. And the structure of the track just feels too rehearsed. Definitely the weakest song.

2/5

Track 12- Out of Goodbyes (with Lady Antebellum)

This down tempo chilled number could have been really boring, but with addition of Lady Antebellu it is given a bit of a kick and a nicer overall sound, acting almost like a twofold story between two lovers. The production gives a really smooth and chilled attitude to the song that makes it a really nice listen, and this is also helped by the smoothness of the two combined vocals. The lyrics are a bit more complex and rich, even if they offer the same kind of love perspective as the other numbers.

3/5

Track 13- Moves Like Jagger (featuring Christina Aguilera)

Recorded after the original release of the album and presenting an even poppier sound for the group, this was the track that rejuvenated people’s interests in Maroon 5. And with a fast paced groove that is extremely catchy it’s not hard to see why. The tracks cool guitar and electro driven production with a nice but powerful undercurrent gives a great dance groove, with the whilstling effects employed throughout making the catchiness of the song even more so. The lyrics are just light and fun featuring a chorus that is so simple but catchy, and with his light vocal performance Levine just embodies the fun of the track. The Aguilera feature is a small but great bit of the song that plays well on the sexual ideologies of the track and offers a good vocal contrast. All in all a great pop track.

4/5

Final Review

This isn’t a bad album, as it features some solids songs, catchy hooks and a good overall sound that makes for a cohesive record. The problem is it isn’t a great album because the songs feel to similar, particularly lyrically and sonically, and sometimes a lack of passion seemingly lets the music down. So whilst the band was not really out of the game with this record, they weren’t really in it either.

5.5/10

Paloma Faith- Fall to Grace Album Review

 

 

 

 

 

 

 

 

Album- Fall to Grace

Artist- Paloma Faith

Paloma Faith is one of those eccentric artists that you can easily love but also easily find annoying. However with her second studio album she created a new record that still kept in line with her eccentric personality but had a charm and pure quality that gave a very old school feel to the record and caused her star to just rise and rise in 2012, with the artist also proving that sometimes the second album can be even better than the first.

Track 1- Picking Up the Pieces

The opening track of the album was also chosen as the lead single. As an epic orchestral piece that is a pop confection so great, it taps into the hearts of many people, it is so clear that this just had to be the first single. Lyrically the tracks is about Faith lamenting the fact that her lover is still focused upon his ex and that she feels like she is always in the shadows and that she has to  try and get him to see the relationship he is in now and see the woman that he has found new love with. It will definitely being something that many will identify, and it is definitely elevated by Faith’s vocal performance, with chorus being vocally unrestrained and having that tangible sense of passion. And the slow, melancholic violins, powerful but subtle drum bass, and the use of a chorus of voices all create a big wall of sound that makes this a delight and just an awesome number.

5/5

Track 2- 30 Minute Love Affair

This second track is a smoky, synth beat driven pop song that was inspired by a short encounter Faith had with a busker many years ago, and the way she felt after he said he would be at the same place the next day and then never should. It lyrically invokes that sense of a rush of love and has a slight passionate tone that will resonate with those who believe in such ideas as love and first sight. And with the synth beats it has a more up tempo, dancey feel to it, contrasting well with the balladry of the previous number. As well as all this, Faith’s vocal tone really carries the track, as it has a slight sultry feel and brings out the idea of a love affair within the song in a dominant way.

3.5/5

Track 3- Black & Blue

This slightly dark ballad number is a piano and synth beat driven song that is a nice change in that it doesn’t focus on love but offers an observation of the world, looking at the various hard hitting situations that people find themselves in and conveying the sentiment that we are all united in suffering in many ways. The lyrics invoke a powerful array of images that really sit with the listening, with the lyric “wipe it off your sleeve, your superiority” emphasising the fact that we are all human and nobody is better than anyone else, a wise and heartfelt declaration from the singer. And with the roughness of her vocals the deepness of the songs sentiment really comes to the fore, with the chorus having a forceful quality that really gets through to the listener, and the bluesy, calming but moody production gives that sense of vulnerability but also intensity to the track.

4/5

Track 4- Just Be

This poetic ballad features a very stripped back sound, being simply Faiths voice and the piano. And because of this it is so heartfelt and true that it will immediately strike a chord with listeners and is just such a beautiful piece. The lyrics speak of Faith telling her lover to just be as she knows that there are ups and downs to their relationship and she still loves him always. Faith described it as a realistic love song for real lovers, and it is indeed this, having that true sense of sincerity and vulnerability to it that brings forth a total sense of honesty. And with her gorgeous vocals which feature beautiful harmonies and the simplistic nature of the production, the track has that old school glamour feel that is so current and yet so throwback. This is how music should be and this definitely should have been a much bigger hit in the UK than it was.

5/5

Track 5- Let Me Down Easy

The fifth track is a smooth and in my mind a little sassy number that is synth beat driven and is a cover of a track originally recorded by Bettye Lavette. Faith invokes that sense of the song being a old classis through the vocal tone she employs with in this track, having that vocal wobble that would be associated with Lavette’s time. But with the synth driven, hand clap inducing production the song also holds a very modern identity, and whilst the lyrics are a little repetitive, the simple hook embodies the sentiment of the song perfectly and will definitely keep your attention.

3/5

Track 6- Blood Sweat & Tears

This disco number is the most up tempo affair of the record and features nice dance groove and a smooth, influenced by the past energy that never compromises on Faith’s poetic lyrical quality. With shimmering synth beats and a powerful bass the track has a great vitality that makes it extremely catchy. And this compliments the lyrics of the track really well, as Faith talks about fighting through a relationship even if it isn’t easy, because at the end of the day it will be worth it. And it highlights the grounding of Faith in the real world, even if she may seem extravagant and other worldly, because she understands life isn’t easy, summed up in the great line “it takes two imperfect people, too dance a sweet ballet”. The vocals are nice and the key change into the latter half of the chorus shows the power within her voice really well.

4/5

Track 7- Beauty of the End

The album diverges nicely into a simple guitar led piece in which Faith speaks of her sadness for the loss of a relationship but seeing the beauty of the relationship. It lyrically offers that nice contrast with the previous track and although is a little bit clichéd, the sentiment is expressed in a grand way in the chorus that is good. This is partly due to Faith’s vocal performance in the track, diverging from the low to high realms of her vocal ability and giving that sense of vulnerability, particularly within the final minute of the track. Keeping the production of the track pretty simple really allows the ideology of the track to come through in a good way.

3/5

Track 8- When You’re Gone

The light piano instrumentation with that single note really gives the delicate feel of the track from the beginning, emphasising that this is another relationship lamenting track. The storytelling aspect of the song’s lyrics is nice, with the chorus invoking imagery that is passionate and heartfelt. And with her natural vocal tone we can easily believe that Faith will miss her lover when he is gone, and when set against the nice drum bass and light piano it just feels like a nice I love you and if this ends I’ll be sad number that gives another good relationship prospective.

3.5/5

Track 9- Agony

Whilst the track is another lamentation and so in this sense the record can perhaps feel a little bit overpowering, the bass of the track gives a nice up tempo flavouring that gives a nice and cool energy to the track. And it has that melancholic tone that gives the feeling of agony that the track needs. The vocals are good as always and the poetic lyrics give that sense of vulnerability with a simple pop chorus.

3.5/5

Track 10- Let Your Love Walk In

This sweet track is probably the weakest on the record as an up tempo flavouring would perhaps be a bit more welcome at this point. However in terms of the production the steady drum bass and light xylophone sounds give a freshness and cuteness to the track, with the slight dubstep wobbles in the verses being a subtle but intriguing element to the song that gives a little grit to the song. The track is simple and nice in sentiment, although it feels a little bit done before. But with her vocals Faith gives a nice elegancy to the track and helps to bring her lyrical idea to the fore.

2.5/5

Track 11- Freedom

This track brings a nice change of pace to the record and just has that carefree, live your life and love feel to it that gives a great variety to the record. The track has a soul driven, light feel to it from the very beginning with the clunky piano instrumentation that leads into clattering drumbeats and an epic powerful sound in chorus. And this definitely brings the idea of freedom to a tangible form within the song, with the lyrics being light and having that sense of the beauty and wonder of love. And with the low vocals of the verses set against the high key chorus, this is just a fun number that has a slight summery edge in terms of its light and happy sound, and is just effortlessly happy emotion inducing within the listener.

4/5

Track 12- Streets of Glory

The closing track is powerful number that is a metaphorically driven ballad that really builds as the track goes on. The song speaks of the end of a relationship and Faith seeing her lover on the “streets of glory” in which they will be happier. The track really builds in sound, with nice synth beats, then a powerful drum bass, then orchestral violins and a chorus of voice that just give that epic, this is the end quality to the end. And whilst the hook is simple, the track Is lyrically deep and gives that true sense of a volatile relationship. The vocals are also great here in that Faith doesn’t over sing the track and really lets the rest of the elements of the song put their mark on the listener. A really good album end.

Final Review

As far as second albums go this is probably one of the best in that it has that polish and sense of trying to achieve perfection, and so sounds more mature and assure d in overall sound. The lyrics are beautifully poetic and offer a cool observation of life and love in its various forms, and there is a sense of honesty not only in the lyrics but also in the vocal performance of Faith. And the production gives a modern sentiment to the record whilst still retaining past influences and showcasing Faith’s artistry of looking to the past for inspiration. This is just a such an amazing sophomore that despite all its success I still feel like it hasn’t had the success it truly deserves.

9/10