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
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