Song of the Week April 21st 2014

Song of the Week- Black Widow by Iggy Azalea featuring Rita Ora, from the album The New Classic

As she currently rides high on the chart success of her latest single 'Fancy', Australian rapper Iggy Azalea has released her first full length album, The New Classic. One of the shining gems of the set is Rita Ora collaboration Black Widow. Already poised to be the sets next single, the track is a smart slice of sophisticated pop infused with a cool dose of hip hop. Lyrically the track finds Ora and Azalea taking on the roles of powerful girlfriends who are going to love their men until they hate them. Co-written by hit songstress and all-round superstar Katy Perry, the tracks chorus is a razor sharp, excellent piece of work that is brought to life by the smooth and sultry vocals of Ora, whilst Azalea provides some crisp rap verses that act as the perfect complimentary piece to the package. The production straddles the line of clinky hip hop and bubbly pop with it's combination of snappy trap beats and chart ready, strobing synths, and makes for a track that will potentially appeal to both the masses and the hardcore hip hop fans. Black Widow is just a dark but fun song that works as the ideal single choice, and with Katy Perry having already enjoyed her own bout of success with the pop and trap combo in the form of the track 'Dark Horse', it might just be a matter of time before Black Widow is being played all over radio stations worldwide.

Song of the Week April 14th 2014

 

 

 

 

 

 

 

 

 

 

 

 

Song of the Week- Sing by Ed Sheeran, from the album x

The first time that I heard Ed Sheeran’s latest single, I was a bit premature in my judgement: the song has more than a whiff of Justin Timberlake about it, and was produced by the man of the moment, Pharrell Williams, who maybe is becoming overexposed. But on repeated listens, I have become immune to the charms of the track and the power that Sheeran has. The song lyrically finds Sheeran telling his girl of how he needs her and just wants him and her to feel that rush of love. The song finds Sheeran on strong lyrical form, wielding his strong singer-songwriter sword but not allowing that to compromise on some slick rapping and a solid lyrical hook. Vocally the track is also great as we get to hear a range of different tones to Sheeran’s voice, with the rapping and singing acting as perfect complimentary components that show this isn’t just a one trick pony. What is more impressive is Sheeran’s falsetto, which he just uses to brilliant effect, and is something that I perhaps foolishly didn’t believe this artist had in them. Pharrell does a solid job with the funk driven production, with the clattering guitar riffs and overall groove of the track having his signature style. But at the same time the production is just infectiously fun, and whether it is typical of Pharrell or not, Sheeran still brings his penmanship and artistic credibility in abundance, and shows that he is firmly in the driving seat. Sing is for me an unexpected offering from Ed Sheeran, and definitely shows the markings of an artist who is progressing, which is just a great thing, particularly when he does it so well.

Song of the Week April 7th 2014

Song of the Week- Extraordinary by Clean Bandit featuring Sharna Bass, from the album New Eyes

Not content with ruling the worldwide charts with their smash hit single ‘Rather Be’, British group Clean Bandit are gearing up to release the equally brilliant follow up Extraordinary. In many ways this new track works in the same way as ‘Rather Be’ in terms of enchanting audiences. Clean Bandit deliver a complex tune that combines a cool array of garage beats and classical string arrangements, with some italo piano thrown into the mix for good measure, and overall delivering a sound that is  powerful to hear and instantly recognisable. Once again the group also show that they don’t simply collaborate with people for the sake of collaborating. Sharna Bass brings a strong vocal performance that brings out this awesome sense of euphoria, whilst differing from previous Clean Bandit collaborator Jess Glynne through having a touch more depth to her vocals and bringing out a slight melancholic tinge to the euphoria in places. The song lyrically focuses on Bass telling this person of how people create extraordinary things in life, and she asks this person to say that they will be with her and feel the same way as she does. The lyrics focus on that simple statement of please reciprocate my feelings, but the song is lyrically intricate in a way that is immediately catchy but also doesn’t lack that sense of depth that can sometimes come out when a song is too commercial. Clean Bandit are definitely the stars of 2014, and the only annoying thing about this song is that now it has got me really excited for their debut album, but that has unfortunately been pushed back and isn’t to be released until early June. Until then, let us all just revel in the brilliance of Extraordinary.

Song of the Week March 31st 2014

 

 

 

 

 

 

 

 

 

 

 

 

Song of the Week- I Will Never Let You Down by Rita Ora featuring Calvin Harris

When I heard a snippet of this song featured in a Rimmel advert it definitely had me excited, and now that I have heard the full song, I can definitely say that this is the perfect track to kick off things for the release of Rita Ora's upcoming sophomore album. The track is a bubbly, upbeat dance pop number that finds the singer riding high on a wave of love. Lyrically the singer expresses feelings of joy as she tells this person that she will always be there for them, even when they think they have had enough of life. Wrapped around a deliciously rich pop chorus, the song finds Ora in fine vocal form, as she utilises the range of her voice to create a delicate flow to the track and allow both herself and the listener to bask in this warm euphoria. Production wise the singer has a perfect partner in the form of current boyfriend and hit making DJ, Calvin Harris. Whilst the dance beats of the song definitely have a signature Harris feel, the overall production is a soaring piece of dance music driven by slightly funky guitar riffs, creating the perfect pop sound to extend the feeling of euphoria. And once again Harris shows why he is the go to collaborator for today’s commercial music scene, because he brings out the best of Ora whilst not compromising on her artistry. If you are feeling a bit down at the moment, then give I Will Never Let You Down a listen, because it just might perk you up, and have you loving life for a blissful three minutes.

Song of the Week March 24th 2014

 

 

 

 

 

 

 

 

 

 

 

 

Song of the Week- Stupid Little Things by Anastacia, from the album Resurrection

From the moment that I heard the new Anastacia track Stupid Little Things I just fell in love with it, and knew that this was an artist making a bold comeback in the music industry. I have always been a fan of Anastacia, and whilst previous songs like ‘I’m Outta Love’ and ‘Left Outside Alone’ might be really guilty pleasures, they are also classic pop songs of a high calibre. Stupid Little Things finds Anastacia hitting that familiar stride of bold, big vocals and simple, lightly clichéd pop lyrics, but she performs with such a finesse and passion that you automatically jump on board. The song focuses on the singer telling herself and us that she has to rid herself of the little things in life and just let go so that she can enjoy the world and be with this person. The chorus immediately grabs your attention, with the catchiness of the song definitely being elevated by the singer’s impeccable vocal performance. Adding both drama and euphoria to the track, Anastacia is just vocally so strong, with the quirky delivery of the line ‘stupid little things’ being a signature style that marks this as a track that only works for this artist, because she was meant to record it. The stomping pop rock production with the booming bass and feisty guitar riffs is a perfect pop sound that acts as an equally as bold comeback sound for the singer as the lyrics and vocals, and works in perfect syncs with all of the tracks other components. Stupid Little Things is a great pop track that will see Anastacia continue her great track record or delicious pop songs, and shows her resilience as a human being and just an awesome artist.

BettyWho- The Movement E.P. Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- The Movement

Artist-BettyWho

With her nice pop style and strong craftsmanship, BettyWho was definitely one of the rising stars of 2013, with the singer appearing on numerous blogs and ones to watch lists. 2014 has already seen the artist kick things off with the stellar single Heartbreak Dream, and as she prepares to release her major label debut after signing with RCA, I thought I would take a look back at the singer’s first release, The Movement E.P., to see just why this artist is seen as so special.

Track 1- Somebody Loves You

The records first single and a recent US Hot Dance/Club Songs number 1, Somebody Loves You is a simple, upbeat love song that focuses on BettyWho exclaiming of how someone is always there for you, with the singer going through a list of statements that show that somebody loves you. The song is just unabashedly straightforward in its lyrical intentions, and vocally BettyWho is really great, as she imbues the track with a fun loving personality that makes the lyrics feel more pure and honest in a still fun way. Personally the production is definitely the songs best component, evoking an 80’s pop style with stomping dance rhythms and clattering synth notes, making for an infectious, energizing sound that acts as the final cog for a really catchy song.

3.5/5

Track 2- You’re In Love

Keeping in the same vein lyrically as the previous track, You’re In Love finds BettyWho exclaiming of how this person is in love everyday as they smile at her, with the two people just having this blissful, great relationship. The intricacy of the verses is complimented by the lyrical simplicity of the chorus, whilst vocally You’re In Love works nicely in showing off different elements of BettyWho’s voice. This is because she softens things for the verses and keeps things slightly subdued, before belting out the chorus and hitting the listener with her full falsetto. It is a nice vocal dynamic made stronger by the glittery tone of the production with the bubbly synth notes and simple pop rhythm, making for a track that is euphoric and instantly catchy.

4/5

Track 3- Right Here

Right Here finds BettyWho taking things to a slightly more wistful, languid state, and finds the record at its most pure and heartfelt. The song finds the artist telling her lover to just stay right here beside her, because together life will be great. The song is lyrically sharp and smart as the singer paints this lush picture of a safe and honest relationship, whilst the soft, understated style of her vocal performance makes the song feel completely sincere and highly emotive. Keeping the production equally soft and subdued with the echoing tone and slight use of a guitar refrain makes for a further chilled element to the song, whilst the latter element of the production also works nicely in giving a touch of urgency to the track. Right Here acts as a nice moment of high energy reprieve in a way, and shows off BettyWho’s versatility as a performer very well.

3.5/5

Track 4- High Society

Final track High Society is a last glittery, upbeat pop moment from the singer that most prominently channels 80’s pop music out of all of the E.P’s tracks. The song finds BettyWho telling her love of how the two of them should be together forever, and they should just have fun and live life like they are part of high culture. The song is witty, funny and sweet, with the line ‘we’ll drink, chardonnay, in the day, cause we say so’ being one of the best lines in modern pop music for me. Vocally things are kept smooth with BettyWho being a really charming vocalist, and the shiny, frenzied synth tones immediately create this euphoric essence to the song that is powerful and instantly catchy. This is smartly crafted pop at its best.

5/5

Final Review                         

The Movement is a short but smart and sweet pop affair that shows off BettyWho as possibly the best pop act to be making music right now. Each of the tracks feature intricate but catchy lyrics, whilst vocally the singer always comes across as empowered and emotive, with each of the songs showing off different elements of her range very nicely. The synth based style of the production is precise and powerful, and nicely evokes old school, classic pop, whilst still sounding good for today’s modern market. All in all this is a fine E.P., and I just can’t wait for the singer’s debut album now.

10/10

Best Track- High Society

Worst Track- Right Here

Enrique Iglesias- Sex and Love Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Sex and Love (International Edition)

Artist- Enrique Iglesias

Singer songwriter Enrique Iglesias has been one of the kings of the pop scene for many years, delighting audiences with his sensual vocal ability and ear for a catchy hook. 2014 finds the star delivering audiences his tenth studio album Sex and Love, which, if the title is any indication, will be is most sensual album to date. But does Iglesias still have what it takes to charm audiences, or should he maybe call it a day?

Track 1- I’m A Freak (featuring Pitbull)

Album opener I’m A Freak finds Iglesias teaming up with regular collaborator Pitbull for a up tempo, dance pop and electro house track that is all about the two artists being slaves to the power of women and apparently being freaks when it comes to what they want. The lyrics edge into clichéd territory with statements like ‘but I’m addicted to her chemicals’, but Iglesias works his vocal charm well with the quirky delivery of the chorus, making the song addictively catchy. The bubbly dance beats and synth rhythms create a light and slightly summery sound to the track that just puts you in a good mood, whilst Pitbull provides his typical slick rap style for the middle section. It is a song that follows a well-trodden formula from the pair, and maybe shouldn’t work, but somehow these guys manage to fool you into thinking this is actually quite fun.

3.5/5

Track 2- There Goes My Baby (featuring Flo Rida)

With the stomping bass and reggae vibe of the production, There Goes My Baby is immediately positioned as a potential summer hit. The song finds Iglesias telling us of how his girl is great and he just wants her to come back to him. The song follows the formula of detailing this volatile relationship where love is the key, and lyrically just sounds like a clichéd mess of statements that lack any form of sincerity. Iglesias is vocally smooth but doesn’t sell the song, although the chorus is made stronger by the use of crowd like background vocals. Flo Rida’s featured role is another rap feature just for the sake of commercial appeal, and the only real selling point of the track is the slight laid back but groovy feel of the production. It might well be a summer single success in the future, but it doesn’t deserve to be one.

2.5/5

Track 3- Bailando (featuring Descemer Bueno & Gente de Zona)

Bailando finds Iglesias sticking to his Spanish music roots and delivering us the only Spanish language based song of the record. As such I am not going to pretend that I have any idea what the lyrics of the song might actually be saying, but either way, it really is a pleasure to hear Iglesias sing in Spanish, whilst guest artists Bueno and Zona are strong supporting players. The track utilises a clattering guitar riff and snappy beats for a typical Spanish dance style that is infectious to hear, and if anything this song just will work as a nice slice of music to appease the singer’s loyal fans who like his bilingual work.

3.5/5

Track 4- Beautiful (with Kylie Minogue)

Also featuring on Kylie’s twelfth studio album Kiss Me Once, Beautiful is positioned as a sweet love song from the pair in which both artists tell the other of how they are beautiful, and they will be with them always. The lyrics edge towards cliché but manage to stay in the realms of sincere, whilst the soft style of the production with the nice piano melody and subtle electro undertone makes for a strong sound to the track. The only problem is that the vocals are so processed, both of these artists come across as robotic lovers rather than emotive human beings. It could have been quite a powerful duet between the pair, but because of the way that the vocals are produced, the song more prominently becomes mildly irritating.

2.5/5

Track 5- Heart Attack

Flying solo on the record for the first time, Heart Attack finds Iglesias changing tact emotionally and lyrically, as he sings of feeling the loss of love since this girl has left him, and realising that he cannot live without her. Lyrically it is not the best, as things are quite repetitive and sparse, but with his stuttering falsetto and slightly languid delivery, Iglesias manages to make the song feel emotive and still quite catchy. The Cataracs to a good job with the production, infusing the typical electro pop style with some dubstep breakdowns, making the song interesting and forceful and capturing the intensity of the lyrics, whilst the use of dubstep also works well in that it doesn’t just sound like a way of gaining commercial success, but works as a natural extension of the track.

3.5/5

Track 6- Let Me Be Your Lover (featuring Pitbull)

Pairing with Pitbull for the second time on the album, Let Me Be Your Lover is another party song that finds the pair focusing on sex and women. Here we find Iglesias telling this girl to let him be her lover, because he would do anything for her. Lyrically the track just comes across as egotistical and bland, with the ‘na na na na na na’ hook sounding like sloppy song crafting. The way that Iglesias uses his vocals is sort of nice in terms of the falsetto led chorus, but his charming style isn’t enough to hide the songs egotism, and Pitbull just brings a typical rap that finds him also at his egotistical best. The use of a looping guitar riff in the production is strong, and the rumbling beats create a nice dance vibe for the song, but overall this is slightly overproduced dance pop at its bland best.

2.5/5

Track 7- You and I

After the egotistical qualities of the previous track, You and I finds Iglesias veering back to his charming self. The song finds the singer telling his girl of how they should just run off together and live off their love, because the two of them are great together and in this way are unstoppable. Whilst the lyrics are stronger than previous offerings, the ‘oh oh oh’ hook is another slice of poor craftsmanship. However, the song is made slightly more appealing with Iglesias’ simple vocal delivery, with the soft tone of the vocal making things feel quite sincere. Production wise, the dance pop production is also made catchier and more powerful through the added input of production team Swedish House Mafia, with the build-up of the beats creating a euphoric style that builds in pressure and might work as a future single, as it commands you to listen in a subtle but strong way.

3.5/5

Track 8- Still Your King

With the weird, high pitched vocal opening, Still Your King doesn’t have the most promising of starts. And on the whole the song just delivers a safe dance pop vibe that finds the singer using typical lines centred on sex. The song finds Iglesias reminiscing of the past with his girl and telling her that he is still her king, and whilst the ‘I’m still your king’ line is catchy, the processed vocals and quirky high pitched vocal that over layers Iglesias’ just sound terrible. The production also does little to satisfy the listener, just moving along a typical guitar riff and rumbling dance beats that sound like they were produced so easily it was boring, and really the songs only asset is the uncredited rap section that is actually quite catchy.

2/5

Track 9- Only a Woman

Turning away from the dance pop heaviness for a minute, Only a Woman finds Iglesias channelling his ballad best. The song focuses on Iglesias telling the listener of how there are things that only a woman can do, with the singer also reflecting on this relationship where he hasn’t realised what he had till it is gone. Once again the lyrics suffer from some poor use of cliché, but keeping the production away from dance territory allows for Iglesias to vocally shine and make the song feel more emotive. The singer’s vocal performance warbles in the right places and finds Iglesias showing off the power of his voice for once, and to good effect. The way that the production builds from the simple piano line to include the thumping bass and nice string arrangement makes for a powerful sound to the ballad, and finally we get to see Iglesias at a more vulnerable, stripped back state that doesn’t sound annoying.

3.5/5

Track 10- Physical (featuring Jennifer Lopez)

With a title like Physical, this Jennifer Lopez assisted number wouldn’t be anything but a really upbeat dance pop number designed to get you on the dance floor. The song finds the two artists playing lovers who are going all the way tonight and just losing themselves in the music and each other. Lyrically it is a catchy tune that benefits from the playful vocal exchange from Iglesias and Lopez. Both artists are vocally charming and suit this dance pop style really well, whilst the clattering beats and up tempo rhythm is quite simple but effective in its ability to make you want to dance. It might be a bit paint by numbers in a way, but overall Physical is just a fun song that wouldn’t actually be that bad a choice of a single in the future.

3.5/5

Track 11- Turn the Night Up

Final track Turn the Night Up is another electro and dance pop number that is all about women and partying. Stemming from a phrase that the singer uses with his girlfriend, the lyrics of the track focus on Iglesias telling his girl of how her body satisfies him and how together they can ‘turn the night up’. The track just follows a too stereotypical formula for Iglesias, with the use of the ‘one love, one love’ line from his 2010 hit ‘I Like It’ just making it seem like he isn’t even trying anymore. Vocally Iglesias just comes across as going through the emotions, whilst the synths and the post chorus section make for a sound that doesn’t excite you in any way and feels very anti climatic. All in all this song needed some serious work, and I cannot understand why it was actually the records lead single.

1.5/5

Final Review

Whilst it is a stellar feat for any artist to be putting out a 10^th studio album, Sex and Love is definitely a poor offering from Iglesias. Overall the album suffers from a very formulaic approach, with Iglesias just fitting comfortably but blandly into this dance pop orientated style that makes it seem like he isn’t even trying anymore. Too many clichés overpower the music, and it is a shame that Iglesias vocally can’t charm the way that he used to. Aside from the odd tune, Sex and Love isn’t an album that you want to invest in, and Iglesias should perhaps just hang up his music days now.

3.5/10

Best Track- Physical (featuring Jennifer Lopez)

Worst Track- Turn the Night Up

 

Song of the Week March 17th 2014

Song of the Week- Only Love Can Hurt Like This by Paloma Faith, from the album A Perfect Contradiction

Out of all of the songs that appeared on Paloma Faith’s latest studio album, Only Love Can Hurt Like This is definitely the track that grabbed my attention from the moment I heard it, and is something that I have repeatedly gone back to numerous times. The song is a lush ballad that finds the singer channelling the essence of divas of the past, notably Dusty Springfield. Lyrically the track finds the singer addressing the idea of love being powerful and beautiful but also painful, whilst detailing this relationship where she wants to be separated from this man but also wants him to remain by her side always. What is great about this track is that it is lyrically quite sparse with heavy use of repetition, but the song still has that power and emotive essence that keeps you invested. Furthermore, the song is lyrically strong in that it was not actually written by Paloma herself, but is rather an original composition by acclaimed songwriter Diane Warren. Yet whilst she may not have co-written the song, Paloma still emotionally connects in a grand way that shows that she is invested in what she is singing, with the song therefore being a prime example of how an artist doesn’t have to write their music for it to be good or feel like it belongs to the artist. Paloma’s vocals ooze a sense of class, and when she hits the high notes she really makes an impact and shows this passion that is just brilliant. To top it all off, the track is made stronger by the 60’s style production with the snappy drum beat and magnificent us of horns, creating an old school glamour that suits Paloma brilliantly. For me, this is song craftsmanship at its best, and this is probably the singer’s best work to date. If Only Love Can Hurt Like This isn’t the albums next single or a future single, then it will be a true travesty.

Kylie Minogue- Kiss Me Once Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Kiss Me Once

Artist- Kylie Minogue

After celebrating 25 years in the music industry, Kylie Minogue was definitely an artist finding herself at a major turning point in her career. And rather than take the well-trodden route of music days past, Kylie boldly changed things up, parting ways with her management and signing up to Jay-Z led management company Roc Nation. As such, Kiss Me Once is an album that aims to push Kylie Minogue into new and exciting territory, whilst maintaining the classic sensibilities of her previous work. But is Kiss Me Once the album that consumers will want today, or has Minogue created an album that will see her musical days truly numbered?

Track 1- Into the Blue

Lead single and album opener Into the Blue is a stomping slice of electro pop that sees Kylie at her typical dance best, but with a little more power in her music. The song finds the sultry songstress boldly declaring how she is going to run free and really claim her independence, with this message being packed around a delicious double whammy of a pop chorus. The vocal performance is powerful with a clear tone and airy quality that sees Kylie’s independent spirit soar. And whilst the shimmering synth production and dance floor sensibility is signature Kylie, the stomping beat and lush string arrangement propels the track into new and exciting territory. This is definitely the best song to start this album campaign with, as it is a classic in the making that also lyrically marks the singer’s new start in her career.

4/5

Track 2- Million Miles

After the shimmering synths of the last track things are changed up a little bit for Million Miles. With this song Kylie exclaims of feelings of love as if she was whisked away to paradise, with the singer going weak at the knees for her man. We are treated to another catchy pop tune, but this time the tempo is at a more adrenaline inducing pace, and the songs sound is backed by a flurry of sprightly guitar riffs that get you in a joyous mood. Vocally Kylie is on fine form as she uses the airiness of her voice to great effect, particularly within the middle section, and by the end you are in a euphoric frame of mind just like the singer herself.

3.5/5

Track 3- I Was Gonna Cancel

Produced by the producer of the moment (a.k.a. Pharrell Williams), I Was Gonna Cancel is a funky, disco fuelled number that finds the singer in a state of clarity, as she explains to this person that she was going to cancel, but you just have to go for things in life even if you are unsure. What is nice about this song is that the disco tinged beats are a signature Pharrell style that is potentially a little bland, but the production has enough of a dance sheen about it to still feel like we are listening to a true Kylie song. The vocal performance is something that won’t appeal to everyone, with the singer flitting between this soft style and shouty moments that is catchy but also annoying. The lyrical quality is also a bit hit and miss, being catchy for some but clichéd and bland for others, and so I Was Gonna Cancel is in my eyes a song that you will just either love or hate.

3/5

Track 4- Sexy Love

Keeping with the disco feel of the previous track, Sexy Love finds Kylie in a firmly flirtatious frame of mind, as she tells this person of how cool they are when they walk into the room, and they should just give her that sexy love that she craves. It is a cheeky lyrical message that is given a smart pop sheen in terms of the instantly catchy chorus. The vocal performance definitely elevates the songs catchy quality, with the layered style of the performance giving the song this extra flavour of airiness that makes Kylie come across as really exuberant, and just being a truly fun loving character. The 80’s flavoured production with the stomping bass and shiny pop rhythms gives the song a slight vintage style that harks back a little to the Kylie of the past whilst still sounding quite current, and if she wants another party single, then this might be a good choice.

4/5

Track 5- Sexercize

Co-written by Sia Furler, who also acts as the album’s executive producer, Sexercize is a song that is all focused on Kylie in a really sensual state, as she tells her man to work his body and make her feel good. The concept is intriguing at first with the blend of sex and exercise, but the lyrics quickly morph into an uncomfortable state of blindness. The vocals also don’t have much impact within the song, with Kylie bringing less character to the track and only sounding like she is having fun in the bridge. The dubstep tones of the production also create a sound that just feels anti climatic, and also feels like it is trying to follow a trend that doesn’t really have as much appeal nowadays.

2.5/5

Track 6- Feels So Good

A remake of the track ‘Inidana’ by Tom Aspaul, Feels So Good finds us along the same vein of Kylie being in a really sensual frame of mind. The song focuses on Kylie telling her man that it feels so good when he is so close to her, and she just wants him to stay with her so she can feel his love. The song is a smart and simple track with a tight lyrical structure that is made all the more appealing by the breathy style of Miss Minogue’s vocals. What Kylie does is make us believe in the song with her vocals, in a way that other artists just wouldn’t have been able to pull off. Rising star MNEK does a great job with the production, creating a smart blend of clattering electro rhythms and snappy beats for a sound that builds in intensity and has you hooked from the start, particularly in the way that the song has this sensual but also kind of melancholic edge. It is a song that is classic and risk taking in different ways, and a track that just pays off in every way.

3.5/5

Track 7- If Only

With If Only Kylie delves into more vulnerable, emotional territory, as she is in this state of wishing for love and wistfully looking at life, but believing that life and love won’t happen in these dreamlike, lovely ways. The wistful, slightly melancholic feel of the lyrics is brought out brilliantly by Kylie’s really light vocal tone, as she makes you believe that she is truly a girl in a state of emotional turmoil. The only issue with the song is that the heavy drum beats and grand sound of the production is a bit too brash, and although towards the end the sound works with the power of the vocal and flourishes of strings, over all things would have probably worked better on a more simplistic level.

3/5

Track 8- Les Sex

After the wistfulness of the previous track we are transferred back to more flirtatious and sensual territory with Les Sex. The track finds Kylie telling this person of an array of things that they could do and call what they are doing, with the song being centred around the labelling of this relationship as ‘les love, les sex’. The lyrics are strong in the way that they are slightly nonsensical but immediately catchy, with the pop hook being irresistible. Kylie definitely works her magic in terms of vocals, bringing out the songs cheeky tone very nicely with her switching between a languid, airy vocal delivery and a brash, shout out style. The production gives the song a groovy dance feel with the disco flavour and stomping beats, and this song just feels like it is immediately going to be a fan favourite.

3.5/5

Track 9- Kiss Me Once

Title track Kiss Me Once focuses on Kylie in another state of euphoria in which she declares how her and her baby have made it through the good and bad times, and now she is ready to give him her all. The song smartly builds up in power between the soft, airy verses and bold, dramatic chorus, although in terms of immediate catchiness it doesn’t pack the same punch as some other Kylie tracks. The vocal performance is one of the albums finer moments in that we get to really hear Kylie’s full voice to nice effect, whilst the production smartly blends thumping dance beats with glittery pop tones, for a style that is grand yet simple and works within Kylie’s wheelhouse nicely, creating a title track that works well.

3/5

Track 10- Beautiful (with Enrique Iglesias)

The album’s only vocal collaboration, Beautiful also finds the listener presented with Kiss Me Once’s only ballad. Teaming up with Latin singer and heartthrob Enrique Iglesias, the track is a simple love song that finds the two artists playing lovers who just tell each other that they think they are so beautiful, and after all this time they still believe in their love and see the other person as their soul mate. In ways the lyrics are clichéd, but the purity of the message and the fact that the lyrics mean that the track doesn’t shy away from being anything but a pure love song means that things actually feel powerfully sweet and sincere. The chorus is instantly catchy, and although the style of the production with the soft piano instrumentation and pulsating beats doe’s edge towards being too dramatic, things are overall treated with a nice level of finesse. The overall problem with this duet is the vocal performance, as both Minogue and Iglesias are Auto Tuned to the point where they sound like robots, and because of this you can never really invest in the songs emotional essence. If the vocals weren’t so processed this actually might have been a gorgeous duet, but as it is, this is just a mess of a song that shouldn’t have made the album.

2.5/5

Track 11- Fine

Final track Fine is another shimmering pop tune that nicely bookends the album in terms of having a similar freedom based sensibility as the opening number. The song is the only track co-written by Kylie herself, and simply finds the singer telling this person (and in a way herself) that everything is going to be fine and they should just face their problems and come out stronger. The simplicity of the chorus makes the song instantly catchy and uplifting, and once again the singers airy vocal tone means that the songs uplifting state is all the more palpable. The frenzied electro beats and clinking rhythms creates an equally as uplifting pop sound that gets you in a euphoric dance mood, and aside from the holding back of some use of Auto Tune being needed, this is overall a great finish to the record.

3.5/5

Final Review

Kiss Me Once is a polished set of quite contemporary pop tunes that finds Kylie Minogue in a state of pleasure and fun, whilst also delving into her need for freedom and independence. Lyrically each of the tracks are catchy in ways that are made even stronger by Minogue’s vocals, and the dance production of the album is sophisticated and classic Kylie, but also experiments with some modern sounds and ideas. Some of the songs do need work here and there, and one or two tracks could have been cut, but all in all, Kiss Me Once is both fresh and classic in a way that is just exciting and a pure pleasure to listen to. What’s more, at the end of the day this also doesn’t just feel like any collection of pop songs, but feels like an album that only Kylie Minogue could pull off, and she pulls it off to really grand results.

8/10

Best Track- Into the Blue

Worst Track- Beautiful (with Enrique Iglesias)

Song of the Week March 10th 2014

 

 

 

 

 

 

 

 

 

 

 

 

Song of the Week- Fancy by Iggy Azalea featuring Charli XCX, from the album The New Classic

Iggy Azalea was one of the rising stars of 2013, being a strong rapper flying the flag for females in the genre and slowly creating herself a loyal fan base. Latest single Fancy finds the rapper teaming up with British singer songwriter Charli XCX for a fun hip hop number that is immediately catchy, and which will probably see the rapper rise to a new level of mainstream success. Lyrically the track finds Azalea firmly and sophistically rapping of the grandness of her life and coming across as a strong independent woman. Alongside this, Charli XCX provides us with a catchy chorus that is instantly memorable and also cries out to be sung along to, with the chorus focusing on the idea of these two girls being so fancy and awesome. The brash vocal delivery of Charli XCX nicely offsets the more straight edged feel of Azalea’s raps, although the artist definitely still shows off a sense of being a fun loving girl, particularly in terms of the fun and catchy ‘I, G, G, Y’ hook.  Producers The Invisible Men also do a stellar job with the production, creating an instantly attention grabbing beat that is powerful and feisty, rumbling with a grand style that sort of makes you feels just as fancy as these two girls, because it just gives you this dance swag that is great to hear. This is both a commercial and artistic statement that is just bound to be Iggy Azalea’s biggest hit so far, and a song that should hopefully have more people excited for her soon to be released album The New Classic.

Pharrell Williams- G I R L Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- G I R L

Artist- Pharrell Williams

After becoming a prominent force in the music market in 2013 with his role as a featured artist and producers, Pharrell Williams has fully stepped into the limelight in 2014 as an artist in his own right. G I R L finds Pharrell giving us a collection of funk dance tunes that are meant to be a celebration of females and a firm tribute to the ladies, and attempts to see the singer continues his current streak of hit music. But is this an album that has been worth the wait, or does this artist actually not deliver when it comes to a full solo album?

Track 1- Marilyn Monroe

Kicking things off is bold track Marilyn Monroe, a song that blends funky rhythms with a grand string arrangement. Here we find Pharrell comparing his lover to an array of historic female figures, and telling her that none of them compare to her brilliance and power. The song definitely kicks sings of powerfully and sets the record’s celebratory tone, with the catchy chorus being strengthened by the use of historical referencing that just comes across as really catchy. The blend of funky beats with strings makes for a powerful sound, with the string arrangement coming courtesy of well-known composer Hans Zimmer and providing a cinematic feel to the albums beginning. Vocally Pharrell is smart and smooth, with the artist utilising his falsetto well and creating a record that definitely exudes this sense of women as just being great. Aside from the presence of Kelly Osbourne in the middle which is just plain weird, this is a strong opening that is fun and should have you in a good mood, ready for the rest of the album.

3.5/5

Track 2- Brand New (duet with Justin Timberlake)

The first of two duets on the record, Brand New finds Pharrell teaming up with fellow singer Justin Timberlake for a clattering funk affair that is all about the two artists telling their respective loves of how grateful they are, with the singer’s apparently feeling brand new because of their partner’s love. Vocally things are definitely great, as the two singers blend together really well, as their falsettos just smoothly combine and really compliment each other. The rattling percussion and use of saxophone makes for a happy, soul funk sound that puts you in a good mood. The problem with the song is that lyrically it is just too repetitive, and feels like it is building up to this big moment that never arrives. As such it is just an ok number that sadly feels a bit like a reject from Timberlake’s The 20/20 Experience.

2.5/5

Track 3- Hunter

Featuring more of a harsher guitar riff for the funk style, Hunter finds Pharrell giving us a song that feels more greatly embedded in a classic disco sound. But whilst the disco sound is fun and intriguing, other elements of the song make you question who Pharrell is an artist. If this album is meant to be a celebration of women, then this isn’t the best track to add to the record, with Pharrell bordering on being sleazy as he tells this girl of how he is going to hunt her down and his sex is good. Once again the lyrics are too repetitive, and the only way that Pharrell salvages the song is through the quirky style of the vocal performance, which shows off more range and finds the singer changing up things from his falsetto style to some brashy, shouting vocals that are fun and commanding.

3/5

Track 4- Gush

Keeping in line with the bordering on sleazy quality of the previous track, Gush finds Pharrell in a state of imagining things and being captivated by this girl. The use of falsetto is strong and Pharrell really brings out the sensuality of the track nicely, but sometimes the track is just lyrically awkward, particularly when Pharrell tells his girl of how he wants to feel dirty. It makes you question just what this album is about if it is meant to be a tribute to the ladies, and overall things just feel like Pharrell is trying too hard to be sexy. The string section in the middle is nice, but production wise the song is also poor, as the funky guitar riffs and snappy beats are over familiar and make Pharrell seem like a one trick pony.

2.5/5

Track 5- Happy

Currently dominating charts worldwide, Happy is a handclap heavy, toe tapping number all about Pharrell being in this euphoric state, where he asks us to clap along and just revel in his happiness if we feel like we are in this state of joy as well. The song is undeniably blissful and catchy, but after hearing it so many times the repetitive nature of the lyrics and the smiley, shiny sentiment can come across as too cheesy. However vocally Pharrell makes things fun and light with his great use of falsetto, and with the groovy feel of the production, Happy is a song that can still make you feel good, even if it may be a little annoying. However, I also feel that the song is a strange addition to a record that is quite sensual, and so whilst it is a nice track, it just sounds too out of place and should have stayed as simply the theme song to Despicable Me 2.

3.5/5

Track 6- Come Get It Bae

Another hand clap heavy tune that also has a slight country vibe about the production, Come Get It Bae is a fun number that finds Pharrell teaming up with another fellow star of 2013, Miley Cyrus. The song finds the two artists sensually telling each other to come and get it, because they have that love that they need. Again, we can question what Pharrell means if this is meant to be a record to celebrate women. However, vocally things work really well, and what is nice about this song is that the two artists vocally blend together nicely, but Miley also isn’t just simply there to provide a hook for a track, unlike some other current, female pop stars. The clattering tones of the production also provide a slight variation on the funk style, giving us a nice touch of diversity to the record and keeping you invested in the album.

3.5/5

Track 7- Gust of Wind

Gust of Wind finds Pharrell teaming up with mysterious electronic duo and previous collaborators Daft Punk for a powerfully euphoric tune all about Pharrell being captivated and over powered by the amazingness of this woman, and the way that he needs to feel and breathe this woman. The song is another really great collaboration from this team that features this really grand chorus, whilst the vocals are strong in the way that Pharrell builds up his performance to make things seem really passionate. The production is just stellar, with the disco guitar riffs and snappy beats being complimented by the frenzied strings and Daft Punks heavily Auto Tuned vocals, giving a song that feels like an old school classic, and which is also thoroughly modern, and hopefully this just gets released as a single.

4/5

Track 8- Lost Queen (includes hidden interlude Freq)

With Lost Queen Pharrell begins to divert from a funk pop production. Instead we are treated to a song that is a bit more experimental, with the song initially featuring this weird production style with warped background vocals and a scattered rhythm that is intriguing to listen to. Vocally Pharrell keeps things light and sweet, with the lyrics focusing on Pharrell telling this girl of her brilliance and asking if he can just serve her, as she is like a lost queen to him. The song then develops nicely into the sensual and sophisticated interlude Freq, as Pharrell tells us of how you have to go inward to experience the outer space. This diverging into a smooth RnB style is really great, and this two part song is a great way for a bit of experimentation to come into the album. Vocally the interlude is also great, as American singer Jojo provides some lush female background vocals that compliment Pharrell’s voice and just elevates the essence of sensuality, making for a song that you can just chill along to and really enjoy.

3.5/5

Track 9- Know Who You Are (duet with Alicia Keys)

Another more traditionally based RnB tune with a slight reggae tinge to the production, Know Who You Are finds the artist teaming up with American singer songwriter Alicia Keys for a duet all about the two artists telling each other of how the relationship is good, and how they know exactly who the other person is and how they feel. The song should work better with such high calibre artists, but just comes across as trying too hard to be an uplifting anthem, whilst the traditional style just gives the song a middle of the road feel. The vocals are on point but don’t blend together well, and for the most part you are just left wanting more.

2.5/5

Track 10- It Girl

Closing track It Girl takes us back to more of a funk pop sound, and finds Pharrell telling this girl of how she is his girl for life and the destination that he wants to be at. It is a lyrical sentiment that at this point just feels too typical, and the smooth quality of the vocal performance now doesn’t charm you in the same way. The funky disco beats also sound bland and too predictive, giving us a final track that makes you glad things are over.

2/5

Final Review

In 2013 Pharrell Williams definitely had everything going for him. But if this is the long awaited second studio album that was meant to push him into the spotlight and show that he is an artist in his own right, then some serious work should have been done. Whilst not a terrible album, things on the whole feel very hit and miss. Sometimes the collaborations work, sometimes they sound bland. Sometimes the lyrics are catchy, sometimes they are annoyingly over repetitive. And whilst the vocals and production are solidly composed throughout, the songs do tend to sound a bit too similar and can sort of merge into one. G I R L is not the album that you wanted from such a producer who is meant to be really hitting the big time, with a handful of songs working. Also, if this is meant to be a tribute to the ladies, then I seriously question the whole Pharrell as the perfect gentleman persona.

4.5/10

Best Track- Gust of Wind

Worst Track- It Girl

Lea Michele- Louder Album Review



Album- Louder
Artist- Lea Michele

Fox TV show Glee has been a prominent cultural phenomenon of the entertainment landscape, with the show’s musical numbers making a powerful dent in the music market. As such it would be expected for the show’s stars to branch out into doing their own thing with music. Leading the pack is Lea Michele, who is arguably the shows brightest star and best singer. But does Michele have what it takes to be on top with her solo music, particular in a market dominated by a number of high profile female singers?

Track 1- Cannonball

Opening track and lead single Cannonball was recorded after the death of the singer’s Glee co-star and boyfriend Cory Monteith, and acts as a song that is meant to provide strength in tough times. Current hit maker of the moment Sia Furler co-wrote the song, which finds Michele telling us of how she is rising out of a bad place and starting to live life fully again, getting out of her head by flying like a cannonball. Lyrically the song does the job of creating this mantra of freedom and power, but the lyrics aren’t completely captivating to listen to. However, the song definitely benefits from Michele’s Broadway honed vocals, as she flits from the various areas of her range with ease and creates a greater feeling of depth to the track. Producers Stargate and Benny Blanco create a simple style with the rumbling bass and twinkling piano melody, creating a nice sound that cuts straight to the point, but has enough weight behind it to bring out the emotion of the lyrics. It may not be the best first single, but in the wake of the singer’s recent personal tragedy, it is a lead single that makes sense.

3.5/5

Track 2- On My Way

On My Way finds Michele turning her attention to more upbeat pop territory, as she exclaims of hitting the road to get to her love, even if she is maybe a bit too drunk in love. The problem with this track is the way that it tries to pack in too much. Production wise the dubstep esque breakdown into the chorus and the thumping beats don’t leave that much of an impression, with the songs style sounding like a reject of other artists work. Vocally Michele brings power to the song but is sometimes buried in the production, and the style doesn’t totally suit her voice. Furthermore, the song’s lyrics venture too much into clichéd pop sentiments, giving us a song that should have been cut.

2.5/5

Track 3- Burn with You

Starting off with quite a folksy, preppy rhythm, Burn with You quickly transforms into a bold number all about Michele telling her love that their relationship may not be right and he may be a bad character, but she just wants to be with him and will go with him no matter what. Sadly this is another track that is lyrically too embedded in clichéd statements that don’t come across well, but the vocals are much stronger, as Michele’s voice works well with the songs style of softer verses with a powerful chorus, whilst the vocal layering in the middle section is a nice touch. The build-up of the production is also nice with the intensifying of the stomping drumbeats and flourish of strings, making for a song that still feels a bit too familiar into day’s pop music world, but which is a slight improvement on the previous number.

3/5

Track 4- Battlefield

Presenting us with the first proper stripped back ballad of the set, Battlefield is another song co-written by Sia. This time we find Michele telling her love and us of how it is hard to be in a relationship, with the focus being placed on the concept of a good idea of a relationship turning into something bad. Lyrically this is the first really interesting piece, with a metaphor laden intensity that is passionate and sincere whilst still remaining catchy. The vocal performance of this track definitely sees Michele at her best, with the song showing both the power of her Broadway voice, but equally showing impeccable control that really makes the emotion more palpable. Keeping the production simple with just a piano melody makes the vocals and lyrics stand out more and gives the whole track more of an impactful quality, and with this song we get the first sense of Lea Michele as an artist in her own right.

3.5/5

Track 5- You’re Mine

You’re Mine finds Michele stepping away from dramatic and tension ridden love stories and instead simply exclaiming of her joy and the way that this boy will be hers for life, because they are so compatible and in love. The lyrics are strong in the way that the element of cliché creeps in, but instead the song comes across as a really sincere declaration of love. This quality of the song is richly brought out by Michele’s voice, as the singer shows both a dramatic, Broadway style and really performs the song, but also creates this sense of truly meaning what she is singing. This is definitely a high vocal point for the record, and the power of the vocals is also helped by the production, which features a powerful, thumping beat, whilst the sampling of the composition ‘You Only Live Twice’ brings out an extra layer of dramatic effect alongside this quality of sweetness.

4/5

Track 6- Thousand Needles

From the sweetness and love of the previous track we are transferred to arguably the record’s darkest moment. Thousand Needles finds the singer questioning her lover’s desire to break away from her, and the way that this brings her pain and is causing her to lose that feeling of love. The song presents the listener with one of the more intriguing and complex numbers in terms of the lyrics, whilst the vocal performance is just stellar, as Michele really powers through the chorus to give the track the right level of emotion. The restrained style of the production with the frenzied bass and dark string arrangement adds for a heavy tone of drama that strengthens the songs passion, and with this track we are given a song that really compliments the other numbers in terms of placement on the record.

3.5/5

Track 7- Louder

Stepping away from love based lyricism, title track Louder finds Michele telling us of how we should step into the light and just go for what we want in a bold way. The song finds the album in more upbeat territory, but on this occasion the song works. Whilst there is an element of the track sounding familiar to works from other artists (in particular Kelly Clarkson), Michele does a good job vocally in giving us a track that works well against the balladry of the other songs and allows the singer to perform a role that still feels emotive and sincere. Keeping the synths and dance beats light and simple allows for a nice pop texture to the track, and although the lyrics are hindered by flourishes of cliché, on the whole we are delivered a song that finally sees Michele deliver in giving us more of an upbeat tune.

3.5/5

Track 8- Cue the Rain

The first of two songs co-written by Michele for the record, Cue the Rain takes us back into relationship territory, as we find the artist lyrically telling us of how she has found herself coming back to this place where she is looking for this person who she loves, but the passion of the relationship has turned into a broken state of heartbreak, with the song utilising this idea of the rain representing the heartfelt downpour that comes with being burnt by the end of a relationship. The dramatic effects of the song with the build-up of the vocal and the tone of passion works well, whilst the rumbling style of the production adds to the passionate tone very nicely. The problem with this song is that, whilst it now feels like a signature Michele tune in its way, the song comes at a point where you can feel like you can only take so much dramatic balladry.

3.5/5

Track 9- Don’t Let Go

Turning back to more upbeat pop territory, Don’t Let Go is all about Michele telling her lover to not let go of her, as they are great together and are just consumed by this powerful love where they can just run off together and do anything. Here we are treated to another track that is hindered by cliché, but with the solid pop chorus things are still catchy, and it makes a nice change to see Michele in the throes of love. The passion of the vocals is also still there but is elevated by some vocal layering, and in certain ways the vocal performance is quite simple but effective. The style of the production is a little bit bland in terms of the shiny synth undertones and bold pop style, yet for me Michele still manages to make things work in the context of the album as a whole, and it is just nice to see the singer change up her style a bit more.

3.5/5

Track 10- Empty Handed

Co-written by American singer Christina Perri, Empty Handed is another ballad that finds Michele singing about how this person is in this state of searching for love, with Michele asking the question of if she lets go will this person be there for her. The song is lyrically sweet and powerful, with the lyrical structure working well in not building up in a simple way to just another pop chorus, but instead sounding quite thoughtful. The vocal performance finds Michele changing things up a bit, really just showing great control and not going over dramatic with the vocal performance, but instead sounding softer and in a way quite haunting. The production style is also more of a change with stadium sized guitar riffs and drum beats that give us this Coldplay like sound that works well, and shows more of a deeper and different shade of the artist that Lea Michele is.

3.5/5

Track 11- If You Say So

Final track If You Say So presents us with a very pure and personal end to the record, as the song was co-written by Michele and focuses on the last moments that she had with her boyfriend Cory Monteith before he sadly passed. Lyrically the track is powerful, sounding sweet and sad in equal measure and tapping into the feeling of both loving someone and being angry that they are gone from your life. The vocal performance is equally as sweet and sad with Michele holding her notes in a pure way that is brimming with emotion. With the production style kept lush and restrained with a simple piano melody and potent string arrangement the songs powerful lyrical sentiment has more of a touching quality. It may have come under sad circumstances, but this late addition to the record is a worthy addition, and hopefully we can see more of this personal, deep kind of music from the singer in the future.

4/5

Final Review

Louder is definitely an album that will give the established pop players a run for their money. What is great about the album is Michele’s impeccable vocal performances, with the singer really utilising her range and power well and flitting nicely between a dramatic Broadway style and simple pop vocals. The whole production of the album is really great with subtle elements of diversity and an equally dramatic quality that illuminates the singer’s voice really well. Whilst some songs are hindered by lyrical cliché, other tracks are complex and thought provoking, and on the whole we are given an album that is catchy and accessible but not totally lifeless. Sometimes there is the problem of Michele copying some of her contemporaries, but other songs create a style that suits the singer well. Louder is a promising debut with equal positives and negatives, and is a record that can definitely see the singer go from strength to strength and improve as an artist.

6.5/10

Best Track- If You Say So

Worst Track- On My Way