Song of the Week July 29

Song of the Week- Forget Forever by Selena Gomez

Turning heartbreak into a stomping dance anthem is a typical trait of 21st century music today, and more often than not this makes for a really great tune. Forget Forever is just such a tune, as Gomez sings and reminisces about a past relationship which she just wants to forget. The track is a stomping dance pop number with hints of synth pop and has a euphoric lightness about it that makes the song a potent listen. The track would have perhaps been better with a stronger vocalist, but Gomez's tone works well with the track. The only real issue with this song is that it is similar to the work of DJ Calvin Harris, and has a strong flavour of his hit Rihanna collaboration 'We Found Love'. But imitation is the best form of flattering, and with the big stars like Katy Perry, Rihanna and Britney lacking in giving us the anthem goods, it seems like Selena Gomez is stepping up to the musical plate in her musical and personal maturity.

Sugababes- Sweet 7 Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Sweet 7

Artist- Sugababes

Sugababes have been one of the leading girl groups in the UK, with six number ones, eighteen top ten singles and over 8 million records sold in the UK alone. However, the group have also been more prominently known for their line-up changes, with the current line-up of the group featuring none of the original members of the group. As the group are reported to be releasing new music later this year, I take a look at their last critically and commercially unsuccessful album (compared to previous releases) and see just what was wrong with that record and what the group should do with the next album, or whether they should just maybe call it a day.

Track 1- Get Sexy

Sweet 7’s lead single was the last single to feature the last founding member of the group Keisha Buchanan before she left the group before the album’s release. Co-written and produced by major pop star Bruno Mars, the song is a vibrant electro and dance pop song that features an interloping of Right Said Fred’s ‘I’m Too Sexy’ within the chorus. The songs lyrical content simply finds the girls telling us of how they are sexy and apparently too sexy for this club. The song’s lyrics feel stupid and a bit egotistical, only really working if you want a song to listen to the make yourself feel a bit better about yourself. The vocals are simple with a fierce but sensual edge and some nice harmonies, however the vocals are too heavily distorted in places and so just come across as annoying. The production is sleek with club ready, hand clapping beats and stomping synth based rhythms, but nothing about this song feels original and doesn’t come across as fun in the way that it should, and so by the end you will be happy things are over because you firmly get the message.

2.5/5

Track 2- Wear My Kiss

Keeping in line with the sexual quality of the previous track, Wear My Kiss was the records third single and is another fun pop track with electronic rhythms, although things are slightly lighter sounding and less club driven for this song. Here we find the girls bringing out their sexy personas once again by saying that this boy will want to wear there kiss, comparing themselves to things such as watches, shoes and ties. The lyrics are similar to the previous track in terms of their silly and bland quality, although the lightness of the chorus makes things catchier. The ‘da da da’ hook however is really annoying. The singer’s vocals blend together nicely but sound better in the verses where they give us solo performances, as the chorus has an annoyingly robotic feel. The production is sleek with a punchy beats and a vibrant energy that is a bit infectious, but it still feels like stereotypical pop.

3/5

Track 3- About a Girl

The first of the group’s singles to feature newest member Jade Ewen, About a Girl is a stomping Europop track produced by hit song maker RedOne. A slight departure from the groups previous sound, the track finds the girls singing on a base of club synthesisers and featuring a 90’s house middle section. However whilst the production is simple and dance driven it is not exciting and just comes across as bland. The song features the girls telling this person that they don’t about a girl and what they like, a bland statement that’s fuelled by clichés and which features an annoying ‘oh oh hiya eh oh oh’ hook. The vocals blend together nicely but are Auto Tuned and just feel lifeless, and so as the first track from the new line up this was a really bad song to start with.

2/5

Track 4- Wait for You

Another electro pop stomper, this song changes things up a bit as for once the girls aren’t blandly talking about being sexy or a girl but instead give us a loved up track where they simply are apart from this person but feel so strongly about him that they will wait for him. The song features some nice, more delicate vocals in the verses, whilst the chorus is really powerful, with new member Jade Ewen showing she is a good addition to the group simply because he voice is really powerful and really makes this song feel forceful and emotional. The potential heartbreak and love of the song makes things much more interesting, and although the lyrical content is quite repetitive the simple quality of the statement ‘I’ll wait for you’ makes the song catchy, and here we don’t have an annoying hook. Plus whilst the production is simple electro pop territory with a stomping bass and heavy sound, the record overall just feels more appealing as it is more attention grabbing, and the song nicely ends with some simple, soft guitar strumming.

3.5/5

Track 5- Thank You for the Heartbreak

A snappy electro pop number that has a slight 1980’s electro vibe, this song finds the girls in a feisty and almost feisty state of mind in which they firmly shake off this ex-boyfriend and thanks him for the heartbreak that was felt at the relationships end, because now the girls are so much better off. The concept is nice but as a whole the song doesn’t have the true feistiness that it should and also employs some annoyingly clichés such as finding strength on the dance floor and with music. The girls blend together nicely vocally and there is some nice, smooth vocal ad libs, but the track once again feels bland through the use of Auto Tune and just feels like a girl group singing a track rather than making the song their own. And whilst snappy the production just stays on this one level that becomes quickly boring.

2/5

Track 6- Miss Everything (featuring Sean Kingston)

Jamaican American rapper Sean Kingston comes on board for this light pop tune that continues with the albums electro pop style but also has slightly more of a summery vibe compared to the other songs. The track finds Kingston talking about the girls as these woman who like the finer things in life such as jewellery, whilst he also sings of loving these girls. The Sugababes then just provide us verses which live up to what he is saying, and how you have to give them what they want if they want a relationship. The song is fun lyrically and is a concept that is light and enjoyable, although it borders upon  being egotistical. However the track just feels bland as both Kingstons and the Sugababes vocals are heavily Auto Tuned and feel utterly boring. The techno melodies and stomping beats of the production are typical of the record but feel a bit more fun than some of the other tracks, and so this could have potentially been a better track if the vocals weren’t so bad.

2.5/5

Track 7- She’s a Mess

The tempo is driven up a bit further with this track where the girls speak of this girl who just loves to party and drink alchohol, but at the end of the day she is a bit of a mess and it isn’t good for her. The track features a cool ‘everybody go mad, everybody go psycho’ hook that is spoken by member Amelle Berrabah in a very British sounding accent. The production also has slightly more of a frenzied dance vibe that is kind of infectious and feels fun. Yet once again the vocals are extremely processed and just sound dull because of this, and you just think what were the producers doing when creating this track???!!!!

2.5/5

Track 8- Give It to Me Now

With a slightly funkier groove and more lighter, mid tempo pop sound, this song finds the girls in a sensual frame of mind where they tell this guy that he is all talk and if they really want them they should just go for it and ‘give it to me now’. The song has a bit of a cheeky quality that is fun, and the song for once features vocals that are nice and light, showing of the girls harmonies nicely and just sounding as fun as the lyrics do. The production also features slightly less of an electro pop track and is a bit more acoustic, with some handclapping beats and simple drums mixed with some nice use of horns. A bit more like past Sugababes music that feels better than the other offerings we have had, at least in terms of the vocal quality.

3/5

Track 9- Crash & Burn

The first ballad of the record, this song lyrically focuses on this car metaphor where the girls sing fo this relationship where things have really just gone wrong and now everything is over because both parties have lost control, as if they were driving and have now crashed. The metaphor is a bit interesting but ultimately ends up being clichéd and feels like a stereotypical heartbreak song. The vocals are blended together nicely but don’t really imbue the song with this true sense of emotion. And the production of the track features a simple sound with a slight pop rock feel in terms of the drum beats, with the guitar strumming and electronic beats further just adding to the songs power. But yet the sound is just another stereotypical quality of the track, and so this is once again an offering that just comes across as lifeless.

2.5/5

Track 10- No More You

Co-written by Ne-Yo, this RnB tinged ballad that finds the girls singing about this guy who played games in the relationship, and now the happiness is gone and there is just no more of this guy. The songs lyrics feel more emotionally astute and have a classic RnB vibe about them, although the ‘oh oh oh na na’ hook of the chorus is just annoying. The vocals feel more tightly structured and find each singer giving us powerful vocal performances but also blending together nicely. And with the simple production with the snappy drumbeats and piano melody with the slight electronic tone, the track is definitely one of the finer moments on the record.

3.5/5

Track 11- Sweet & Amazing (Make It the Best)

This track continues the record on a softer level, but things are lighter and hopeful with the lyrical content of the track, and the song also has more of an acoustic setting. The lyrics simply focus on how life can be sweet and amazing if we make it so, a lyrical message that comes across sweetly even if it is one massive cliché. The singers harmonies are really nice and make the song feel more truthful, and with the acoustic quality of the track with its handclapping beats, steady drumbeats and light piano notes, this track definitely feels quite powerful, and only suffers because it feels so unoriginal.

3/5

Track 12- Little Miss Perfect                                           

Ending the track on a very stereotypical level, this song is a simple pop ballad where the girls sing of thinking that they gave there all in this relationship but yet things haven’t gone right, and now they’ve been so focused on moving on they just feel lonely and realise they aren’t perfect. The song has pure emotional quality in the lyrics that are powerful, and each member brings really strong vocal performances to the track that sound fragile and vulnerable. Keeping the production quite simple with just the piano and then building the sound with drums and strings makes for a an impactful and stirring ballad, and so although this to me is potentially always a bad way to end a record because ballad finishes are so typical, the band actually have proved me wrong in that this is probably the best track on the record. Although that may just say something about the quality of the other songs.

3.5/5

Final Review

This album definitely does not live up to its Sweet 7 title. It is a really bad album that finds every track terribly suffering from clichéd lyrics, annoying vocals and commercially bland production, with only one or two tracks being truly appealing. It is a good thing the group have taken a break, and I just hope they really bring their A game and produce some truly good music with the next album.

1.5/10

Best Track- Little Miss Perfect

Worst Track- Thank You for the Heartbreak

 

 

Nelly Furtado- The Spirit Indestructible Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- The Spirit Indestructible

Artist- Nelly Furtado

Nelly Furtado is one of the major successes in terms of artists from Canada who have achieved global success, epitomised by the two Grammy’s that she has to her name. She is also great in terms of the way that she has transitioned throughout her career and produced new sounds, from a folk driven pop vibe to teaming up with Timbaland for RnB, dance pop stompers and cool sensual rhythms. This album is kind of a conglomeration of all her music in that Furtado has described it as being most like her debut album Whoa Nelly!, but having the romance of Folklore, the drama of Loose, and the passion of Mi Plan. Yet does the album actually live up to this quite grand statement that Furtado makes?

Track 1- Spirit Indestructible

Described by Furtado as “an ode to the spirit which resides in all of us”, the opening number and album title track is a powerfully upbeat number in terms of the positive lyrical message, which speaks of having a spirit that is indestructible and a heart that is pure, something that we all wish to be in life. The chorus is strong and has a catchy tone, whilst the final section of the song is lyrically addictive in terms of the “AEIOU” repetitive motif. Vocally the song is really strong, with Furtado exhibiting some really powerful vocals that bring out the strong and inspiring quality of the message in a grand way. The production value of the track is also great, with producer Rodney Jerkins starting softly with simple piano instrumentation before introducing a propulsive drum beat and a military drum breakdown in the bridge that really builds for a strong finish. Perhaps a little dragged out, but this is still a big and great opening number.

4/5

Track 2- Big Hoops (Bigger the Better)

The records lead single is a song that is loaded with attitude and has a frenzied tone, featuring an RnB sound that also infuses hip hop beats and electro pop. The songs lyrical message is distilled in the title as Furtado sings about finding strength through the wearing of her big earrings. It’s a fun metaphor for being comfortable in how you look and is given gravitas by the attitude laden vocal that features an almost rap sung style, although the use of Auto Tune is a little annoying. The songs production keeps things on a simple level with the nice electro beats and cool swag tone that it brings, with the breakdown at the songs finish sounding cool, although not as impactful as it perhaps should be and a bit dragged out. The song is meant to exhibit Furtado as a free form artist, but I think it more works as a sign that she should create more well-rounded tunes.

3.5/5

Track 3- High Life (featuring Ace Primo)

Inspired partly by a breakdown the singer had on her Get Loose Tour, the song is lyrically all about chasing your dreams and looking for success away from home, but also how you cope with that success and what actually happens when you obtain. It’s a strong lyrical subject that is potent in today’s celebrity driven world, and so the song is mildly inspirational. The song is also given gravitas by the Ace Primo rap who gives a fast paced urgency to the track which emphasises the disillusionment of success. However whilst the rap section is strong, Furtado’s sections are both and good and bad, with the hook being strong but the “la la la” motif being annoying. The in the studio moments of the beginning and end are intriguing, but vocally Furtado is just okay, with the high moments coming across as annoying. The production has a dark undertone and an almost gangster sound with a handclapping back beat simple piano instrumentation that keeps the track on a simple level and nicely draws the line between happy for success and sad for success.

3/5

Track 4- Parking Lot

Featuring some cool use of horns and percussion, “Parking Lot” is an upbeat, mid tempo track that finds Furtado putting on a bit of swag within her music. The lyrics refer to Furtado’s teenage years when her and her friends would meet in the parking lot, and the quite chilled sound of the track sounds fresh and indeed has that youthful energy showing how Furtado is all about just having fun. The rap style vocal is both cool and annoying, but the chorus is strong and the tribal like calling of the post chorus “na na na” is quite catchy. And although the style is perhaps annoying, the track works well in keeping Furtado’s voice on a simple level and therefore not showing vocal insecurities. The production is strong with horns and percussion melding together to form a cool old school sound, and the track ends on a high with the military style drums. The track is also good in terms of how it is quite long but does not feel so.

3.5/5

Track 5- Something (featuring Nas)

This RnB tinged number with its clattering tone of the production has a slightly sensual version with a small amount of attitude. Vocally it finds Furtado on a strong level, keeping things on a simple level and working nicely in terms of the slow tone of the verses set against the almost feisty, repetitive chorus. Nas also provides a nice fast paced raps that offer a cool male perspective to the track in which Furtado lyrically speaks of giving her man that something that will make him feel good, as she knows what to do. The chorus can get a little annoying as you listen, but you welcome the sound of the track as this offers a change of pace to the record, with the electronic back beat and toe tapping rhythm just giving a chilled sound that makes for a cool, easy listen. The pre chorus is a little annoying, but as a whole the song works, and the end is cool with the studio moment of reminiscing of past music.

3.5/5

Track 6- Bucket List

A bucket list, as probably everyone knows, is something that you write in which you list all the things you wish to do before you die. And so from the title of the track you can pretty much get the gist of the lyrics of the song, in which Furtado mediates on personal relationships and life goals. It’s a little clichéd but Furtado pulls it off with the as the chilled essence of the song is catchy, although a more powerful chorus is perhaps needed. The track is a nice change of sound as the production is based in a simple acoustic, guitar driven melody, and so is reminiscent of Furtado’s past work. With this sound also comes one of the better vocal moments of the record, with Furtado having a light tone that brings out the message of the track nicely. The small breakdown of the bridge is cool, but the end is just plain weird and annoying.

3.5/5

Track 7- The Most Beautiful Thing (featuring Sara Tavares)

The theme of spirituality that was present in the songs title track comes back with this number where we find Furtado singing of how everyone is so powerful in life and is searching for something, and how this person (perhaps the listener) is apparently the most beautiful thing, although rather in spirit rather than looks. It’s a nice sentiment, and the sound of the track with the electro synths and clattering back beat is strong. But the lilting and slow tone of the singer is just incredibly annoying and uninspiring, with the track easily becoming skippable after 30 seconds. The final section of the track in which a girl narrates writing into her diary is cool and brings the message of spirituality out strongly, but by that point it is too late.

2/5

Track 8- Waiting for the Night 

From the laidback rhythms of the previous number we are more prominently transferred back to a mid tempo state, with this track being inspired by a diary the singer kept as a smitten sixteen year old on holiday in Portugal. The song simply invokes the idea of a love struck teenager, with the verses being almost fairy-tale like, whilst the chorus has a punchy quality where Furtado sings of waiting for the night, presumably when her and her beau can be together. The song is vocally ok, kept on a simple level but not commanding your attention in the way that it should. However the sound of the track is very cool, with producer Rodney Jerkins melding a dominant dance and electro pop sound with harps and bagpipes and an all-round folk energy that is quite catchy. The chorus is repetitive, but the track works in bringing the record back to a better form.

3/5

Track 9- Miracles

Furtado’s inspiration from her travels comes out very strongly with this track from the very beginning with it’s twangy riffs that sound like they were brought straight out of India with from her travels. The song has a slightly melancholic but also hopeful energy as Furtado sings of her desperation for this person to bring her to their level, as she believes in them and their spirituality. Vocally the singer is strong as the deep tone of the track is powerful, and the harmonization of the chorus is strong, with the bridge of the song showing how she does indeed have some power in force. However whilst the vocals are strong, on this occasion the production suffers a little. Although the melding of propulsive electronic back beats with Eastern influences sounds intriguing, as a package the song is too overpowering and so you can easily become bored.

3/5

Track 10- Circles              

This track works well in terms of how it kind of shows Furtado pushing her sound a little with the distorted nature of the production. That it is not to say this is a frenzied track, but that simple the bassline of the song is a cool electronic swish. The production value is definitely the best part of this track, with the twinkling electro pop sounds working well to bring out the almost sweet message of the track. The bass in the bridge is quite powerful, and as whole this feels like one of the best tracks in terms of being a well-rounded number. The singer lyrically speaks of a relationship in which she knows they can pull through if they break this circle of not talking, and although it lacks a strong hook, the lyrics are catchy, and are helped by the vocal performance which features some nice harmonization and a light tone that brings freshness to this point in the record.

3/5

Track 11- Enemy

A more dark tone can be observed with this track that shows a different side of the singer and is a welcome change in the record. The song is quite deep lyrically as Furtado sings of how this person makes her feel so strongly that they are like her enemy, whilst she also struggles with herself. The song is kept on a simple level vocally and is nice in terms of its vocally layering. The production is also strong, keeping tings quite simple but powerful with a thumping drum beat as the base of the production with the adding of cool string moments that add a touch of drama. The song’s weakness lies in the lyrical repetition, but as a whole package it is strong, with the final section allowing her to show some vocal power and really emphasise the dark sentiment of the track.

3.5/5

Track 12- Believers (Arab Spring)

The final track keeps with the spiritual theme that is prominent within the track, as lyrically the track finds Furtado in a despairing but hopeful mood as she sings of asking where those people are who can really help you in life, whilst also singing about how she will remain strong. The songs message is simple and familiar but the chorus is strong in terms of its hook driven sensibility. Vocally Furtado is strong, although the chorus perhaps stretches her voice a little. However the sound of the record makes up for this, featuring a dominant kind of rock edge with the clattering drum beats and powerful guitar riffs that suits the questioning tone of the track nicely. The track perhaps acts as a sign that she should have focused on more stripped back but still grand sounds.

3.5/5

Final Review

This album has had really poor sales and should be more prominently titled the album that showed the public had lost interest in Nelly Furtado. In listening to the record, it is not difficult to see why the record has had such a response. Primary producer Rodney Jerkins does provide god melding of genres, and on many occasions Furtado brings some nice personality to her songs and good lyrical content. However the record is marred by vocals that on more than one occasion sound babyish and lack the strength an artist like her should have, whilst the record is too heavily focused on big concepts and should have more of a balance between the deepness of spirituality and the fun of just living life. I don’t think this is as bad as record sales would have you believe, but it’s definitely a sign that she needs to really put in the work to get back to her former musical glory.

5/10

Best Track- Spirit Indestructible

Worst Track- The Most Beautiful Thing (featuring Sara Tavares)

Zedd- Clarity Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Clarity

Artist- Zedd

Zedd has become a big star on the dance music scene in 2013, with his track Clarity becoming a platinum selling, top 20 hit on the Billboard Hot 100. The respective album has had some success, but not as much as the single. So the question is, should the public be taking a closer look at the body of the singers work, or is he just going to be a one hit wonder?

Track 1- Hourglass (featuring LIZ)

For a song called Hourglass it is perhaps a little weird that this track features a tick tock clock rhythm at its roots. However, aside from this fact, this is a potent track to open the record with, blending a forceful sound with delicate vocals. Lyrically the song finds LIZ in the role of a girl who is in a state of turmoil whilst time is passing her by. The lyrics don’t have a definitive hook but are elevated by the delicacy of LIZ’s vocals  which create an emotive essence to the track. The production of the track is very cool as Zedd creates a sound that melds together well but which also sounds like three separate tracks, with the first section having a more organic, bass heavy tone before going into up tempo dance territory and then ending with electro beats that feel 80’s influenced, and which acts as a prelude to the next track.

3.5/5

Track 2- Shave It Up

Shave It Up is an alternative version of the singers track ‘Shave It’. Opening with a simple statement of ‘Shave It Up’ from an 80’s movie guy, the track quickly becomes this stomping electro house number that is purely instrumental, with the ‘Shave It Up’ title popping up on occasion. Although the songs lacks the punch of the previous track in terms of their being no true lyrical content or powerful vocal, the sound of the track with the vibrant dance energy has enough of a wow factor to command your attention and make you want to dance, with the track ending with a cool use of strings for a grand finish that makes this stand out from simple dance music.

3.5/5

Track 3- Spectrum (featuring Matthew Koma)

Spectrum is a powerful electro house tune that pairs airy and emotionally loaded vocal performance with dance ready beats that create a song designed to keep the energy going in the club. Lyrically the song focuses on Koma telling this person that they will always be together, even though the relationship is filled with varied levels of emotion. The lyrics perfectly encapsulate this quality of an emotional spectrum, whilst Koma gives us a vocal that elevates the lyrics and which feels passionate and ethereal, building in a way that really captures your attention. But once again this is very much a Zedd song, and his production of forceful dance music and varied musical tones creates a strong sound that you can easily lose yourself and which is very powerful in terms of its varied intensity, creating a song where the components nicely all come together.

4/5

Track 4- Lost at Sea (featuring Ryan Tedder)

Lost at Sea has slightly more of a lighter musical edge than the previous track but is equally as passionate and forceful. The song focuses on current hit maker and One Republic frontman Ryan Tedder telling this girl of how he wants to get lost at sea and just be lost in the moment and lost in love with this girl. The metaphor driven quality of the lyrics is catchy if clichéd, whilst vocally Tedder is strong in terms of the way he varies his range and brings a touch of fragility to the track whilst ultimately sounding passionate and in the throes of love, particularly during moments when he uses his falsetto. The synths stabs and steady dance rhythm of the track is cool, with the post chorus breakdowns being perfectly executed for the dance floor, although this track is a bit safe for me.

3.5/5

Track 5- Clarity (featuring Foxes)

Becoming Zedd’s biggest hit to date, title track Clarity is a euphoric dance number which sees the DJ team up with up and coming singer Foxes. The song’s lyrics have a tumultuous quality as Foxes sings of this relationship where she doesn’t want this person but they ultimately complete her, speaking of how they love is insanity and yet this person is their clarity. The song is smartly structured in the way that it builds from the verses to the choruses for powerful dance tune that is very powerful. Foxes gives us a breathy and deep vocal performance that brings euphoria and powerful emotions to the song that makes this a truly arresting listen, with the male background vocals adding a crowd like effect in places that simply adds to the tracks intensity. The clattering dance beats and powerful electro grooves are really fine-tuned and simply elevate the vocals, and so this is a very successful, polished dance track.

4/5

Track 6- Codec

After a few vocal led tunes Zedd takes things back to a purely DJ led, instrumental sound with Codec, a funky electro house tune that has slightly more of a grittier texture and which powerfully shows how the artist can be a bit more adventurous with his music. The track features cool club beats with funky electro basslines and moments of strings that give the track this powerful tone. There are some potential vocals in the song but these are heavily distorted, and although this vocal style production is intriguing at first, it becomes a bit annoying after a while.  The track powerfully builds to make way for even harsher bass and stronger dance beats, and so whilst it is a little outstretched, this is a perfect example of pure, enjoyable dance music.

3.5/5

Track 7- Stache

Released as an a single exclusively on Beatport, Stache is another purely instrumental dance track that follows on from the previous song. However, here the electro beats becoming even more frenzied and slightly funky in tone, escalating to this state where you lose yourself in the intensity of the sound. The club driven beats become even more vibrant and dance floor ready, building to a great crescendo that is just cool, and so whilst this and the last track might not appeal to mainstream music fans, this is just fun house music that you can just lose yourself in and use as a de stress tool.

3.5/5

Track 8- Fall Into the Sky (Zedd & Lucky Date featuring Ellie Goulding)

Zedd collides with fellow DJ Lucky Date for this crazy house number that pairs the tonally rich dance music with the light and breathy vocals of UK singer- songwriter Ellie Goulding. Goulding sings of being ready to fall into the sky as she now sees the reason why, and although her contribution to the record sounds small, her ethereal sounding moments perfectly compliment the harshness of the production led sections, even if the singer is a little repetitive. The sound of the record definitely comes as two DJ’s making music as the intensity of sound is really increased and things just become more frenzied and powerful, making this a great club tune for when the night is reaching its peak.

3.5/5

Track 9- Follow You Down (featuring Bright Lights)

Follow You Down takes things down to a slightly mellower groove but still keeping the dance grooves going, and the track also has a lighter energy that is quite infectious. The song is sort of a love song as American singer-songwriter Bright Lights sings of how she feels so strongly for this person that wherever they go she will follow. The lyrics are simple and have a catchy, sweet quality about them. Bright Lights vocals feel slightly quirky which is cool, and have this airy tone that makes the love that the song is based in that much more believable. With the steady bass and tightly structured electro club beats the song has a sound that is perfectly executed to build for moments when the dance floor will be set alight, and so it just seems that as we come to the records conclusion, Zedd is a master at creating music for really partying to.

3.5/5

Track 10- Epos

Final track Epos is another pure dance track that features harsh electro beats that build in intensity and which are forceful enough to really drive you to dance. The song tonally sounds like three different tracks melded into one, and nicely references the album opener at the end with the use of a tick tock sound, creating a well-rounded record that is really enjoyable.

3.5/5

Final Review

Zedd has create a powerful dance record that shows that he will be one of the leading DJ in the music world, creating a powerful sound that is adventurous and fun. The guest artists on the record really meld well with the DJ and add something extra to his music, and as a whole the album really comes together for a cohesive sound that is great to listen to. This is enjoyable dance music as dance music should be.

9/10

Best Track- Clarity (featuring Foxes)

Worst Track- Lost at Sea (featuring Ryan Tedder)

Usher- Looking 4 Myself Album Review

 

 

 

 

 

 

 

 

 

 

Album- Looking 4 Myself

Artist- Usher

Usher can safely be described as one of the Kings of the RnB scene, creating powerful music that has captured a generation and which is epitomised by his diamond certified album Confessions, a rare feat in the musical world. With this seventh studio album he aimed to continue his domination of the music world, but this time presented a more experimental sound to try and push the boundaries and draw on a world of styles. Yet does the album live up to its revolutionary wishes? And does it actually sound strong, or should Usher have stuck with a more RnB heavy sound that made him the well-known artist he is today.?

Track 1- Can’t Stop Won’t Stop

Produced by will.i.am, the opening track is a an aggressive club stomper that finds Usher singing of to this girl and telling her about how great and sexy she is and how they can’t stop and he won’t stop, alluding very much to sexual behaviour. The track is centred around a synth heavy hook and is strong in terms of the production as the euro dance beats make for a cool pop sound that is upbeat but not aggressively dance driven, allowing for the sensuality of the track to come through.  The production is also strong in terms of the incorporation of dubstep, which gives the back beat a gritty feel and makes for a catchy sound. Vocally Usher is strong, with his lilting RnB tone showing a sensual persona, and the singer uses some nice ad libs at the songs closing section. However the vocals are annoying when Auto Tune is used, as the use of this device just sounds like it is trying to replace the gap of an actual transition between each part of the song, and also suggests that he isn’t a good vocalist, which is untrue. The sound of the record is also marred by the lyrical content as it is too stereotypical of these I love this girl in this sexy way kind of a track, using clichés that Usher and many of his contemporaries have used before. Furthermore, the overall composition of the track sounds similar to a previous track of his, the 2010 hit “OMG”, which coincidentally featured was also produced by and featured will.i.am, and so the opener suggests the artist has no originality.

2.5/5

Track 2- Scream

Usher up’s the dance floor levels from the previous track with this grander, faster and all-round powerful up tempo number that was produced by Max Martin, another previous Usher collaborator. The tracks lyrics are heavily sexualised, with Usher singing of seeing a girl in a club and telling her that if they go home together they can make powerful and sweet love together. It’s heavily sexual lyrics could be off putting, however Usher brings a suave quality to the track within his vocal performance, and so you more get captured by his sensual persona and forceful vocals, with the hook heavy chorus having a particularly catchy quality. Production wise the track is strong, with Martin placing Usher’s vocals on a bed of heavy bass, featuring a four on the floor instrumental and a strong use of synthesisers that are current trends of the pop scene and make for a catchy sound. The only real issue I have with this track is that it once again feels similar to previous Usher work, in this case another Max Martin track released in 2010 called “DJ Got Us Falling In Love”, and although this is more up tempo and has a fast paced velocity, it is still similar and so like the previous track signals Usher has no more tricks up his sleeve.

3.5/5

Track 3- Climax

Finally Usher produces some music that sounds totally fresh and diverges from his up tempo state of mind for a more slowed down jam that is a little more lyrically potent. The theme that permeates the song is that the track is a break up lament where we find Usher singing about a relationship in a state of tension, with the song’s title emphasising that they are now at a turning point. The song is cool slice of electronic based music that is powerfully driven by the chorus and features a very strong vocal from Usher, with the slow lyrical stresses of the track sounding subtly sensual and heart touching and delicate at the same time. The track also features Usher vocally using his falsetto to great effect, both emphasising the message of the track and matching the Diplo produced beats perfectly to make a track that will appeal on different levels. The production is also really strong, as Diplo creates a steady synth based rhythm and a haunting riff, and combines this with potent string arrangements, subtle electronic ticks and a sparse drum machine, all coming together to create a cool, almost soulful groove that has the potential to go all crazy and dubstep up tempo at moments but they goes back down to this subdued state, sounding intriguing and impressive. It is simple to see why Ushe picked this as the lead single: it may not capture you straight away, but you can’t deny the power of the musical composition and the evolution of Usher, with the track also kind of providing a relief from all the other music in the charts at the moment.

4/5

Track 4- I Care For U

The fourth track is a mid tempo number that features the most prominent RnB flavouring of the record so far. The lyrical message of the track is summed up within the title of the song, as throughout Usher simply tells his girl how she is awesome and how he feels for her, with the title forming the hook of the song. The chorus is strong and sensually driven but the lyrical content seems a bit lazy, with the hook being too repetitive and at some point getting to the stage where you just want to tell Usher that we understand. Vocally however Usher is really strong on the track, with the RnB tone suiting his voice perfectly and making the slow way in which he sings the track sound extremely believable. The vocal distortion at the end of the chorus is also strong and catchy rather than annoying, showing how this type of vocal production can really work. However, whilst the vocal production works, the production as a whole is both a hit and miss. The song infuses 90’s RnB and hip hop with a dubstep heavy bass. Although we can commend Usher for pushing his music, the dubstep influence in the track takes a bit too long to grow into, and although it is a strong sound by the end, it perhaps would have been a better track if Usher had kept things a little bit simpler.

3.5/5

Track 5- Show Me

The sound of this track feels a little bit more laid back than the previous number and the song has a kind of chilled, almost summer vibe in my opinion. A mid tempo number, the song is all about Usher just having fun with his girl as he tells her to just relax and show him what she can. The song is another number that has a heavy sexual vibe and so fits perfectly into Usher’s already fleshed out sensual persona. The production is cool with nice house synth claps that are also helped by a bubbly techno rhythm. And vocally the singer is once again strong, keeping a light tone and sensual groove.

3.5/5

Track 6- Lemme See (featuring Rick Ross)

Ushers sex appeal that has characterised who he is comes out very strongly in this mid tempo RnB number that finds the singer sensually employing his falsetto for a chilled out but forceful number that features a strong incorporation of heavy synthesisers. The song lyrically finds the singer in familiar territory as he sings of wondering what he is going to do to a certain female club goer when he gets her home. It’s familiar territory but the production gives it an updated feel in terms of the sultry synth tones, and the Rick Ross rap feature gives the song some urban swag that also nicely contrasts with the slow, sensual vocals of Usher. And sometimes, songs like this act as the perfect example of how if it ain’t broke, don’t fix it.

3.5/5

Track 7- Twisted (featuring Pharrell)

Produced by and featuring rapper-producer Pharrell, the seventh track is a stomping number that has a prominent retro 60’s feel. Described by Usher as nostalgic and his attempt to modernize it, the song finds Usher lyrically speaking of this girl who has got this relationship twisted and has made him look like a fool, but who he finds so appealing. The song works really well lyrically in terms of the punchy quality of the chorus that offsets the softness of the verses nicely. This is also one of the songs strengths in terms of the vocals, with Usher really showing the power of his vocal register by dipping from lower to higher tones. The percussion led production keeps things simple and old school, and Usher provides a cool rap feature in that it is a short but sweet moment of fast paced rhymes that highlight the depth this girl has touched her man. The song ends with some cool swag from Usher as he speaks, and the only real issue with the track is that the sound is one that has dominated in today’s music market, particularly by Bruno Mars and Cee-lo Green, and so although he pulls the track off, you can get the sense that this doesn’t necessarily suit Usher as well as other sounds.

3.5/5

Track 8- Dive

Things are slowed down a little more for this RnB ballad that contains elements of pop, and features the singing powerfully employing his falsetto. The track is lyrically cool in terms of its triple entendre ideology, as Usher metaphorically compares going into a committed relationship as to diving into water, whilst a sexual edge can be exhibited within certain lines. If another person had sang the lyrics they might come across quite disgusting in a way, but with his rick falsetto and charismatic tone Usher can easily win us over, and the song showcases how he has a great vocal range. The production is also really strong, having a sultry feel that will capture you and sounds both familiar Usher but also a progression in sound.

3.5/5

Track 9- What Happened to U

The down tempo state of the record continues with this simple track in which Usher mainly sings in a falsetto. Normally for male singers this would be a really bad thing, but for Usher this is great as he has one of the best falsetto’s in the music industry today in terms of male singers, and so the vocal never becomes annoying and so sounds really good. Indeed the pre chorus sections are almost annoying in their speak sing style that is deeper in tone. The tracks lyrical quality is very simple as Usher sings of having this great life but missing this girl and asking what happened to this girl and their relationship. Melding the vocal together with a simple electronic back beat and understated tone of production, this is an extremely chilled out affair that offers a nice range to the record.

3.5/5

Track 10- Looking 4 Myself (featuring Luke Steele)

Featuring Empire of the Sun member Luke Steele, the records title track is a definite pace changer of the record as the tempo changes, and so does the sound. The RnB Usher is almost thrown out of the window as the song finds the singer fitting into a new wave and soft rock sound that feels very much like an Empire of the Sun sound. Yet whilst the track is different, the soft and rich quality of his vocals meshes well with the simple and slightly laidback production with the steady and light drum beats, and he still brings out his unique persona in the nice employment of ad libs. The track is lyrically all about Usher being on this search for who he is, powerfully driven by the hook and inspired by the singer’s musical journey and his travelling. The bridge doesn’t quite work but the message of the track is strong, and if you weren’t a fan of the RnB Usher, then this might just be a great song for you.

3.5/5

Track 11- Numb

Co-produced and co-written by the great dance pop maestros that are Swedish house pop mestros, the transition of sound of the singer and evolution of him as an artist comes out again in this inspirational up tempo number that lyrically is rooted in the idea of finding one’s destiny, and just becoming numb to the negativity, instead just following your dreams. The track is vocally perhaps one of the weakest moments for Usher, as although he employs his falsetto powerfully and the ad libs are good in the final section, as a whole the track lacks a little bit of the spark and personality that comes out prominently in some of his other tracks. However the dance pop and Euro disco driven production of the song is very good, with the glimmering synths providing a euphoric tone that makes the hook of the song that little bit stronger and draws a nice line between just be chilled and get up and dance.

3.5/5

Track 12- Lessons for the Lover

A collaboration with long time musical collaborator Rico Love, the records 12^th track is probably the one that is most reminiscent of the past Usher, even though it features strong electronic production. The slow tempo of the track brings out the sensuality of the singers vocals once again, and the lyrical message of Usher giving us a lesson in love is kind of familiar territory. The tracks production is heavy and cool with a nice sensual edge in the use of electronica, but as a whole this is just too familiar territory for the singer, and the track is also dragged out a little too much.

2.5/5

Track 13- Sins of My Father

The last track may have been familiar territory for this track, but this song pushes him more as artist with its darker tone and completely different sound. Lyrically the track finds Usher playing the role of a man who is a tortured soul, and who is an a volatile relationship and who believes this is because of karma from his father. The production consists of a powerful combination of bass, drums, guitar, keyboard, horns and strings for a soulful sound that is also slightly reggae tinged and which powerfully builds with each moment. The sound is a nice change of pace and is backed by a strong vocal performance that is rich in terms of the transitions from the verses to the chorus.

3.5/5

Track 14- Euphoria

The final track and the second collaboration with Swedish House Mafia is a another dance pop number with elements of Euro trance that would fit perfectly into an Ibiza club setting. The track is lyrically very simple as Usher sings of being in this state of Euphoria, with his vocals bouncing along on a bed of shimmering synths and a nice up tempo groove. However, whilst the singer vocally sounds good within the track, overall this is too simple a number, and the singer also sounds a little bit uncomfortable in this state.

3/5

Final Review

Usher is definitely one of the best artists of the noughties generation because he never does things by halves and always aims to really push himself. The sound of the record really works in showing a musical evolution of the artist, featuring a cool melding of genres and a powerful sign of how Usher has really grown into his voice and is one of today’s strongest male vocals. The lyrical content can feel a bit too familiar, and certain tracks don’t work as well as others, but as a whole this is a solid album that shows Usher is more than a one trick pony, and it makes me sad that this album hasn’t had the same success as his previous work.

8/10

Best Track- Climax

Worst Track- Lessons for the Lover

Mcfly- Above the Noise Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Above the Noise

Artist- Mcfly

Since debuting with their hit single “Five Colours In Her Hair”, Mcfly have been a staple of the British music scene with their infectious pop rock sound and keen ear for a catchy lyric. But since their last record end their streak of top ten hits, it seemed that the group potentially we fading in terms of musical stardom. Teaming up with Dallas Austin, a leader of today’s music scene, the band build a different sound with this record, showing more pop sensibilities and having more of a concept in the record as a whole, whilst still holding to that rock edge. But was this really a good change for the group, is this really just the album that signals they should maybe split?

Track 1- End of the World

The opening number acts as this futuristic and cinematic track that gives a bold energy to the record right from the beginning. The track begins with a female, robotic vocal that acts as a film moment in which she speaks of the band entering this place and almost setting them up as the saviours of earth. Lyrically the track is summed up within the title, and at first it can come across as if the band are a bit paranoid, but after a while you get the sense that this is actually a much simpler tune about the end of a relationship. Vocally both Tom Fletcher and Danny Jones are strong here, having smooth but rock based tones that meld together nicely in terms of the different sections and have this innate appeal. But definitely the best bit of the track is the production, which is courtesy of Austin and samples “War of the Worlds” by Jeff Wayne. The production features this cool blend of electronic tones with simple rock energy, with forceful drum beats that get you excited. The middle section and final section of the track are also powerful in terms of the rock energy with the catchy electric guitar solos, and the vocal layering is also really cool, by the end making you really invested in the overall energy of the track.

3.5/5

Track 2- Party Girl

From the title of the track you can easily expect this track to have a high energy level, and the band definitely delivers this. The records lead single, Party Girl is a quite simple electro pop tune that acted as an exhibition of a change in sound for the group at the time, with their regular sound having more of a pop rock vibe. The lyrics of the track find the band describing this scenario in which this woman comes into the room and just has this sex appeal that is captivating and finds the group in this love-struck state. The “oh oh” hook of the track is really catchy and the chorus has a nice simplicity that makes for a memorable quality within the track, which is helped by the vocals of Jones and Fletcher, who bring light vocal tones and a nice vibrancy to the track. Production wise we are treated to a stomping dance sound that is synth heavy and is nicely intermixed with cool guitar riffs and just has a totally propulsive energy. The track does lose its zest a little at the end with the repetition, and in today’s pop world the track has a little bit too much of a familiar quality, but otherwise this is a nice pop tune that finds the band going in a new direction, but a direction that ultimately suits them.

3.5/5

Track 3- IF U C Kate

Electronic Mcfly firmly continues with this mid tempo offering that finds the singers seemingly in another love-struck state. However, whilst the previous track lyrically showed this girl as almost a vampire, the girl the group describes here is a much more sweeter entity, but still as captivating, and the chorus simply finds the group asking us to tell her that they want her, if we see her. At first the retro quality of the track with its synth based energy feels a bit too bland, potentially just the group jumping on the musical bandwagon, as the time of the records release was a time when a synth based sound was in. However as the track continues, you become enveloped in the vibrancy of the tune, and the light vocal tones of the singers once again really draw you in. Jones also really gives a kick to the final section with some strong ad libs, and the chorus has an undeniably catchy quality. It may have been a familiar sound at the time, but by the end of this tune you can pretty much get the idea that in the case of this group the sound suits them, rather than just being a sound chosen to ensure chart success.

3.5/5

Track 4- Shine a Light (featuring Taio Cruz)

The only feature on the album, Taio Cruz brings his cool vocals to this track which has ultimately become the group’s bestselling tune, with the 2006 charity single “All About You” only bettering it. It is pretty simple to see why, as this is a delicious pop tune that has a hopeful one mingled with a small touch of potential sadness, and finds both artists on fine vocal form. The lyrics of the track find the group in a sentimental mood about missing an ex, and this wistful note is powerfully helped by the vocals of the two artists, with Mcfly bringing their signature pop rock sound and mixing this well with the smooth, slight RnB notes of Cruz. The “eh, eh’ eh” hook is extremely catchy, and when based in the signature, squelchy synths of Cruz, we get a sound that is quite irresistible and a perfect slice of pop.

4/5

Track 5- I’ll Be Your Man

The group slows things down for this kind of lighters in the air tune that shows a little bit of sensuality and also has a small tinge of slow in terms of its slow building energy. Whilst the last tune was a little wistful, this song is built on a more traditional love note, as Tom Fletcher sings of the greatness of this girl and how he will always be there for her. It’s a nice sentiment, but it does come across a little cliché and soppy as the song goes on. Fletcher takes on sole vocal duties for the track, and offers a nice use of falsetto which layers the track with a sweet edge, although at times his voice feels a little strained. Whilst the vocals and lyrics are a bit touch and go in quality, the production is just really good, with the simple drum beats and kind of shimmering guitar riffs just giving a chilled, swaying mood that makes for an appealing listen, with the electric guitar solo in the middle section being another slice of cool rock moments in the bands pop world.

3.5/5

Track 6- Nowhere Left to Run

When the band says they have nowhere left to run, this is a thoroughly metaphorical statement. This is because this track is basically a simple love song about how the male protagonist can’t live without this girl and just needs her love. The track is one of the poorest tracks in terms of the lyrical quality, as the hook isn’t as strong as the previous numbers, and many lines are just too repetitive. The track is also poor vocally, as both Jones and Fletcher feel like they are straining their voices and yelling rather than singing, with the Auto Tune seemingly used to combat this sounding grating and annoying rather than appealing. Only the production is something to find good, with the twangy guitar riff and steady back beat giving a nice pace to the track and really building nicely in the chorus with the use of some electronic beats as well.

2.5/5

Track 7- I Need a Woman

A soulful and almost country quality to the group is exhibited within this track that has a more acoustic feel and is another song that is built upon this idea of love. The lyrical concept is something that is once again summed up in the title: the guys are looking for a woman who can fulfil their needs, and this girl seems to be a nice fit, being all they want and need. The concept is executed nicely with a strong pop chorus, and vocally this is a much better offering, as the two lead vocalists have nice separate duties that meld well together, Fletcher providing a soft tone in the verses and Jones giving a bit of a kick with a rough and gritty vocal that makes what he is singing feel that little bit more sincere. Sampling The Temptations “My Girl” and including a riff from “Supreme” by Robbie Williams, the track is a little bit more of a pop rock affair than the previous numbers, and just has this cool rhythm that is one you can both chill to and get excited about.

3.5/5

Track 8- That’s the Truth

Track number 8 and the records third single was the first single by the group not to reach the top twenty of the UK music charts. However, since the release lacked promotion due to member Dougie Poynter entering rehab at the time, it’s not really the songs false. The track very much fall into the typical anthemic boy band ballad territory, but the song still has a catchy quality with the simple but strong chorus and so the cliché of the sound can be forgiven. Lyrically the track is all about the guys telling the girl that she is loved and shouldn’t listen to what others say, instead she should just trust in her man. Both Fletcher and Jones provide strong vocal performances within the track, harmonising well in certain sections and each giving an almost kind of desperate tone to the track. Production wise Austin and Jason Perry bring a string orchestra and simple rock vibe to the track that is a change from the electronics of previous singles, and is nice, although perhaps because of the production the track feels that bit typical, and so although it goes with the heartfelt sentiment, it might have been cool to see what some synths would have done to the tune.

3/5

Track 9- Take Me There

Mcfly definitely seem to be the band all about how great this girl is when it comes to this record. This is because here we are treated to another musical offering where the guys just praise this girl and how she makes them feel alive, and just ask to be taken to her level of awesomeness. It’s simple sweet message that is centred around a nice hook, and although in no way innovative and a little repetitive, the group still manage to create a tune that has appeal. Jones is really strong in terms of the vocals, with the final chorus having a really power to it, whilst Fletcher simply sings three lines and offers a nice lightness in contrast to Jones. The production is another typical electro pop rock element driven number with the steady drum beats and cool electronic bass line, with the guitar transitions being the catchiest moments and all just creating a sound that allows the sweetness of the song to shine.

3.5/5

Track 10- This Song

Loved up Mcfly comes out once again with this track, although the lyrics do have a little bit of a sexual edge. The track finds the guys singing about how somewhere in the world people are doing things whilst with this song, whilst asking this girl to wrap her legs around them and they can just lose control. Fletcher is the main vocalist on the track and tries to bring charisma to the track by employing a falsetto vocal, yet whilst this is nice, it is not enough to hide the fact that the lyrical content is very poor and clichéd, having no real catchy quality. The happy production is also heavily clichéd boy band material with the light electro synths and steady drum beat intermingled with acoustic guitar riffs that all makes for a traditional pop rock sound that tries to be appealing and in doing so ultimately fails, with the song also being really dragged out in terms of the instrumental middle section.

2/5

Track 11- Foolish

The final track is another moderate tempo affair that feels very much like a number of other pop biy bands could have produced. The track is basically all about how this girl is great, and how the guys can’t live without her, but at the same time there is this sense of them wanting to be distant from her because they have lost themselves a little. Pop rock is the production here with simple drums and guitar that just comes across as bland, and Fletcher offers vocals that are sweet and nice enough but bring no emotional investment to the tune.

Final Review

Above the Noise seems to be an album of two halves: the first half of the record finds the group pushing themselves sonically and creating some of their best material today whilst not running the risk of compromising who they are as a group. The second half is a really bad divergence from electronic sounds to more organic Mcfly of old, and whilst this would have worked quite a few years ago, it now just sounds like terrible boy band material that has just been giving to them and could have been produced by any other boy band, with the last two songs making for a real terrible end. If they are going to stand any chance of having good album success and not just single success in the future they need to produce a record that has more of a cohesive essence in sound and doesn’t going into the levels of cliché that the latter songs in this collection do.

5/10

Best Track- Shine a Light (featuring Taio Cruz)

Worst Track- This Song