Album-
Glassheart
Artist- Leona Lewis
Once upon a time Leona Lewis was the UK X Factors golden
girl and the sign that the show could produce real stars capable of massive
global success. Yet whilst her debut set the world alight and proclaimed as the
big thing, this third studio album has seen her struggle commercially and never
reach those heights that she was once capable of. But my question is why? Is it
because the album is actually much worse than previous releases? Or have the
public merely not been satisfied in this celebrity culture driven world and,
due also perhaps to the fact this release was pushed back, have the simply lost
interest?
Track 1- Trouble
This dark, moody track is all about a love gone wrong and
was inspired by Lewis’ break up with her childhood sweetheart, as well as featuring
a co-write by Emeli Sande. As Lewis sings about a now volatile love in which
the relationship has just completely gone wrong and both parties are in
trouble, her passionate but light vocal performance gives an ethereal edge to
the song that allows for a sense of vulnerability to seep through. And with the
darkness of the lyrics a dramatic impact can definitely be found here, with the
way the track transitions between light piano instrumentation in the verses
into booming bass in the chorus give a great energy to the song as a whole. Yet
whilst the track feels different in sound and feel than her previous work,
something about it also misses a little bit of an impact and just makes it
sound a bit so so, and it’s something that’s hard to actually give a reason
for, my only idea being that we are so use to Lewis lamenting the raw dark edge
doesn’t sound as refreshing as it potentially should.
3/5
Track 2- Un Love Me
The second track features a more classic Leona sound and is
built around powerful bass beats and light guitar riffs that sound sweet but
sad at the same time. The track invokes a deep sense of passion and speaks of
how Lewis needs her love to let go as she just can’t let go, and with the
employing of her powerful falsetto the believability of this track really
shines, with the hook of the song being very attention grabbing. And there is a
definite richness to the song in my opininon through that simple notion of
Lewis begging to be free from love that is just encapsulated in one powerful
pure line.
4/5
Track 3- Lovebird
This mid tempo ballad that has a light and airy feel in
sound that definitely syncs well with the lyrical message of the track. Here we
find Lewis speaking about how she had a great relationship but she knows she
has to move on and find her own way, and so she makes the decision to leave and
compares this to the idea of a bird taking flight. The sentiment may be a bit clichéd
but with her light vocals the sweetness but fragility of the track really comes
through and so it doesn’t sound as bad as it potentially could have. And with a
powerful bass in the chorus, light piano instrumentation in the verses and some
powerful vocal gymnastics in the final section, it a powerful number that is
very much signature Leona in overall sound. However, this may mean it suffers a
little as it’s very much done before, yet in this case arguably she is so good
that these songs still sound good. Yet when placed side by side with the former
song, you can’t help but think that she can’t stretch herself as an artist.
3.5/5
Track 4- Come Alive
Just when she could become boring she side swerves into some
musical experimentation with this up tempo, drum and bass, dup step inspired
song. And here rather than lyrically speaking of a broken relationship, Lewis
rather invokes a sense of passion and speaks of feeling really alive when she
is around her love. And whilst her vocal delivery does make it sound like
another lamentation (which is a little annoying) the powerful exclamations in
the chorus really give that passionate vibe to the record. And with the
powerful production that is tangibly aggressive and very different from her
previous work Lewis can really be complimented for experimenting with different
sound effectively, with the electronic breakdown in the songs final section
give a great energy to the track that in a small way makes you want to party
along.
4/5
Track 5- Fireflies
This gospel pop song brings the record down to a more slower
and reserved state, and features simple and light piano riff that rotates
throughout the record, with the song receiving a powerful edge in the chorus
with the use of a strings orchestra. Lyrically the song is uplifting but feels
a bit bland in the slowness of the record, and whilst her vocals are strong, particularly
in terms of when the gospel elements of the track come into play, it doesn’t feel
as strong as some of the other records and feels very much like another
powerful singer could have just sung it. Plus in terms of the structure and the
use of the power in her voice it feels very much like she is playing it safe,
and so this is definitely a weak number.
2/5
Track 6- I to You
Driven by a string led melody and powerful bass, this track
is a dramatic tone record where Lewis questions her position within her
relationship. The track is definitely great in that whilst it could have been
another simple Lewis record, the dramatization of what she is singing and the
slight aggressiveness that can perhaps be heard gives that new found vitality
to her music and shows artist evolution. The track lyrically compliments itself
well in terms of the intricate verses in which Lewis invokes the good things
about her love offsetting the simple questioning chorus really well. The
production of the track gives a for that epic feel, with the orchestral finish
having that sense of deepness and letting the question just settle. And with
the subtle fragility and quietness of her voice in the verses allowing for an
emotional kick to the chorus, this definitely brings the record back on form.
4/5
Track 7- Shake You Up
With the start of this track seeing Lewis exclaim “Can you
turn the music up a little bit please?”, this bubblegum pop song is another example
of when musical experimentation pays off for the artist. The track features a
synth driven production with a mid tempo 80’s pop melody that feels fresh at
the same and gives a cool almost dancey vibe to the song that is refreshing
against the records ballads. The track is a little bit cheeky in sound and is
all about Lewis being in control and knowing exactly how to push her lover’s
buttons, with layered vocals and fast paced lyrical stresses giving a nice
vitality to the record that sounds like she is having fun with her music. The
verses and chorus are a little vocally jarring, but this is a minimal issue.
3.5/5
Track 8- Stop the
Clocks
Here we find Lewis transitioning back into an electronic
driven production that features a powerful drum bass and sees her speaking of
how she would stop time for her love because she just wants to stay with him
forever. Despite the lighter instrumental sound of the track and the more
hopeful quality of the work, the song doesn’t feel as vocally powerful and
passionate as the other songs and features a sound that is identifiable as past
Leona, so has that dated feel overall.
2.5/5
Track 9- Favourite
Scar
This light mid tempo number is quite happy sounding and
features a subtle piano riff which is joined together with hip hop beats that
feel musically refreshing. The song is all about how the relationship Lewis
finds herself in may be a little twisted, but she loves it and she loves her
man, comparing him to being like her “favourite scar”. And what really stands
out with this track is that vocally Lewis gives the record a bit attitude,
which sounds light and fresh and ultimately makes what she is stating more
believable. And with the “la la la” chorus section you can’t help but love this
track a little, even if the sentiments cheesy.
3.5/5
Track 10- When It
Hurts
A piano led ballad featuring an electronic undertone and
some electric guitar moments, this track is just another classic Lewis that
again feels dated and just sounds very bland. Definitely the weakest track on
the record.
1.5/5
Track 11- Glassheart
The title track is easily the best song on the record, a
delicious slice of powerful dramatic dance pop with a dubstep flavouring, ideal
as a weekend club banger. The track lyrically speaks of a woman’s fears that
her boyfriend may leave her and so she sets out to protect her emotions in
order for her heart not to get broken. And whilst the track easily could have
been another boring ballad, the listener can bask in the beauty of the smooth
vocals and the powerful and grand production of the track. Centred around a
simplistic chorus that is pure and very memorable the track features a big
sound that is driven by incessant beats that are so propulsive they are just
delicious. And the dupstep influenced breakdowns after each chorus just give an
all-round great vitality that shows us that she isn’t just a boring ballad
singer.
5/5
Track 12- Fingerprint
The final track is a beautiful down tempo ballad that
usefully showcases what Lewis was brought to the public attention for first:
her voice. The track is beautifully understated with simple piano
instrumentation and a light drum bass that gives a steady power to the song
without overpowering it. And with a powerful vocal that really builds, this is
just a really stunning end that lyrically speaks of how no one can ever replace
that special person in Lewis’ life, a delicate sentiment delivered in a fragile
and pure way that many will find really appealing
Track 13- Trouble
(featuring Childish Gambino)
This bonus track is merely the same as the first track off
the record. However the difference here is that we find a witty and poetical
verse from rapper Childish Gambino in the middle section. And with this the
song is given a powerful dramatic edge with a kind of two fold point of view
kind of storytelling and allowing for a bit of a kick to be given to the final
chorus. A good example of when features can actually allow a track to transcend
the original.
3.5/5
Final Review
This album is actually really good, and in my opinion is
probably better than her previous records in the sense that we have overall
more of a sense of her being emotionally invested within these tracks. And with
each track there is no denying that she has a unbelievable voice that really
sounds so good you would be stupid not to like it a little. The problem with
this record is that why she pushes herself sonically and in that respect really
delivers, in other cases the record just becomes weighed down with ballads that
feel dated and something that we know Lewis can do and just don’t have that
sense of vitality. So definitely an album to pick and choose tracks from and
sadly not by in its entirety.
7/10
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