Song of the Week January 27th 2014

Song of the Week- Once Upon a Dream, by Lana Del Rey

If I am honest, picking a song of the week has been hard this time around, because I have still been riding on the waves of Kylie’s new song from last week. And January just doesn’t tend to be that great a time for stellar new music releases. However, today I was very much intrigued to hear a rendition of the Disney song ‘Once Upon a Dream’ by American singer Lana Del Rey. Acting as a promotional tool for the upcoming film Maleficent, this new rendition of the track has a much darker and haunting tone, sitting with this new film’s focus on the legendary villain from the Disney animated classic Sleeping Beauty. As a big fan of the Disney brand, I was very weary of the idea of Del Rey tackling such a classic song, but upon hearing this rendition I am really surprised and happy, and I kind of feel like the singer has somehow managed to make her own spin on the track even better than the original. Originally the track focused on the Sleeping Beauty character Aurora singing of love and walking with her prince in her dreams, but here the lyrics are giving a much more haunting and mysterious meaning, in no small part thanks to Del Rey’s languid and airy vocals. Del Rey has that perfect tone of grandeur that makes this new rendition dramatic and moody, and yet whilst it is a Disney classic, the song also for me feels like it in some ways could have been made by Del Rey. Keeping the production minimal is a strong point as the lyrics and vocals can really work their magic on you, and so what this track does is get me both excited for this new Maleficent film, and get me excited for when Del Rey releases some proper new material of her own this year.

Dizzee Rascal- The Fifth Album Review

Album- The Fifth

Artist- Dizzee Rascal

For many people Dizzee Rascal is the king of urban music, who has inspired an array of artists. Yet with each consecutive album Rascal’s music can be seen to change, with his later works producing such mainstream hits as ‘Bonkers’ and ‘Dance Wiv Me’. The Fifth represents Rascal’s fifth studio album, and once again the rappers sound can be seen to change, with the Fifth presenting more of a commercial sound. But does this bode well for the album, or has Racal transformed himself into an artist that people don’t like anymore?

Track 1- Superman

Opening track Superman is a simple rap tune that starts off well with this dramatic opening, but which quickly dissolves into an urban music piece that just feels like the artist is a bit egotistical. The song focuses on Rascal rapping about his youth and his life and how he just wants to live it up with money and women. As such Rascal just comes across as a typical rapper, with the song kind of suggesting that he has become consumed by fame. The rapping is ok but Rascal doesn’t exude that sense of passion that would command your attention, whilst the uncredited male vocal that acts as the songs hook just brings an extra layer of annoying egotism. The production is slightly interesting with the frenzied electro rhythms, but this sound is also slightly bland, and because of this the album is just opened up with a track that is a complete package of egotism.

2/5  

Track 2- I Don’t Need a Reason

Initially planned to be the records second single but demoted to promotional single status after a poor chart performance, I Don’t Need A Reason is similar to the previous song in that we find Rascal rapping about his success and his ability, exclaiming that he doesn’t need a reason and just wants sex. However, this time round the rapping is much stronger, with Rascal showing us his speed and ability to great effect, whilst the ego based attitude is toned down a little bit. The production is also intriguing with the squiggly beats and clashing drum rhythms, with the distorted vocal in the song also creating this weird element to the track that is catchy in a strange way.

3/5

Track 3- We Don’t Play Around (featuring Jessie J)

The record’s first collaboration, We Don’t Play Around finds Rascal teaming up with British singer songwriter Jessie J for an up tempo party tune, in which the duo tell us of how they don’t play around, and they just want to really show you how to have a good time. The song is lyrically poor due to the fact that Rascal raps about clichéd party ideas that make it seem like he is desperate to make a big club tune, but Jessie J provides a solid pop chorus that is instantly memorable in its pure simplicity. The rapping is also snappy and catchy, whilst vocally Jessie J is great, providing a big chorus that nicely builds up in power. Producers Redone and Teddy Sky also do a good job with the production, blending some sharp piano notes and vibrant dance rhythms with stomping, dubstep tinged beats, create a thumping party song that is clichéd but still uplifting.

3.5/5

Track 4- Good (featuring Angel)

Beginning with this grand electric guitar riff, Good transforms into a groovy, quite chilled affair that finds Rascal rapping about doing an array of things and not letting things get him down, whilst guest artist Angel provides a simple but uplifting chorus in which he asks us to put our hands up high and enjoy life, because things are good. Angel’s vocals are smooth and exude this essence of life being good, whilst Rascal’s snappy raps equally convey this idea of life being good very well. With the tracks laidback groove blending with a snappy, guitar driven chorus, the production is really intriguing, but this is also an issue, as the song at times feels like it is trying to be too grand, and so whilst this might be a good live track, as a song on the album it doesn’t quite sit as comfortably as you would want.

3/5

Track 5- Spend Some Money (featuring Tinie Tempah)

Teaming up with fellow British rapper Tinie Tempah, Spend Some Money is another song that finds Rascal edging into clichéd rapper territory as he tells us of how he is just trying to spend his money, with the best thing to do apparently being getting really drunk. Because of this it just feels like we are treated to another ego based tune that you cannot really understand or relate to unless you’re rich and stupid. The rapping is okay but Tempah is definitely the better rapper here, giving us a cheekier but more charismatic rap, and this isn’t a good thing if Rascal is meant to be the lead artist. The grainy texture of the production with the clattering beats is okay but quite a bland party sound for such a track, making this another mainstream tune that fails more than it succeeds.

2.5/5

Track 6- Arse Like That (featuring Sean Kingston)

Arse Like That focuses on Rascal just going full throttle in rapping about his love of girls and sex, with the main crux of the song focusing on Rascal and American singer Sean Kingston telling this girl of how sexy she is and how people have never seen an ass like that. Yet whilst the song shouldn’t work, Rascal somehow manages to pull it off. The egotistical attitude is still there, but there is more of a cheeky element to the rapping that is fun to listen to, whilst Kingston’s smooth vocals provide us with a catchy chorus that also sees the two artists contrast each other well in terms of the British/American dynamic. Redone and Teddy Sky also once again do a good job with the production, building the track up with the use of ever more frenzied dance beats that are slightly typical of the producers styles if you have heard some of their other work, but which builds up to a stomping post chorus breakdown that will definitely make you just want to dance and go crazy.

3.5/5

Track 7- Something Really Bad (featuring will.i.am)

Released as the second official single from the record, Something Really Bad finds Rascal continuing along the same lines of the previous track, as he raps of his love for girls and how he wants to get into something really bad with them, because he loves bad girls. The song lyrically is an annoying tune with a simple idea that becomes bland very quickly, with the songs hook just sounding incredibly monotone and boring. The rapping is alright but Rascal come across as just resting on his previous achievements, whilst the presence of US rapper and Black Eyed Peas member will.i.am is just boring. The infusion of techno and grime beats is cool but also doesn’t get you excited about the music, making this a single that just feels designed for these two artists to indulge in their love of women.

2/5

Track 8- Goin’ Crazy (featuring Robbie Williams)

Lead single Goin’ Crazy finds Rascal teaming up with British star Robbie Williams for a fun dance track that is all about the two artists just not caring about life and doing things the way they want, with Williams telling us that he believes he is going crazy. The solid pop chorus is good and the two artists blend well in terms of their cheeky chappy personas, but the whole feel of the song and lyrics feels embedded in a typical party style that has already been recycled so many times by many different artists. The squiggly synths and scattered dance tone of the track is fun enough, but for a song featuring two big British stars, it isn’t the mega success that you want.

3/5

Track 9- Love This Town (featuring Teddy Sky)

Love This Town is quite an odd tune in many ways. This is because in the hook and rapping elements of the track Rascal focuses on his love for the city of London and suggestion that he hasn’t forgot his roots. Yet instead of a grime driven sound, the listener is treated to a flurry of up tempo dance beats that are really Americanised, with the songs vocals in the chorus coming from American singer Teddy Sky. However whilst this is an odd combination of things, the track itself is a fun and slick affair. The production is solid with a great build up in energy towards a forceful post chorus section that you can lose yourself to, whilst Teddy Sky’s vocals are smooth and light and create this exhilarating edge to the song as a whole. Rascal’s rapping is also strong and positive, making a nice change from just rapping about women and money.

3.5/5

Track 10- H-Town (featuring Bun B and Trae tha Truth)

The record’s second promotional single, H-Town is another song that finds Rascal seemingly focusing on his roots and his home town, but this time the production is more suited to an urban style, with the song being one of the most prominent tracks on the record where Rascal sticks to his grime roots. However the American elements are still there with the presence of rappers Bun B and Trae tha Truth, but this dynamic of rappers works well, with this song actually not finding any of the rappers outdoing the other. The subdued tone of the production with the clattering techno beats creates a vibrant but slightly chilled moment in the record that offers some relief from the party atmosphere.

3.5/5

Track 11- Heart of a Warrior (featuring Teddy Sky)

Teddy Sky takes vocal duties once again for Heart of a Warrior, a song that taps into the idea of Rascal having fought to get to where he is and how he is strong because of this. The message is nice with the rapping being smart and sharp, but the chorus follows this clichéd sentiment of having the heart of a warrior, making the song sound unappealing, whilst Sky’s vocals lack passion and are too light and stylised, with the use of Auto Tune being annoying. The heavy bass and bleeping electro notes of the song also creates a bland pop sound that doesn’t drive home the songs message enough, making this feel like a poor motivational tune.

2.5/5

Track 12- Life Keeps Moving On (featuring Pop Mansel)

Life Keeps Moving On is a shiny, almost summery end to the record, where Rascal focuses on how you just have to do what you do in life, because in the end everything just keeps moving on. The song is a smart and uplifting tune that is nice in the way that you can hear the rapping a bit more, whilst the blend of piano notes and dance beats in the production just creates this sharp dance sound which is really light and happy. Guest artist Pop Mansel provides a simple vocal for the chorus that doesn’t really do anything to command your attention but blends well with the songs carefree message, making this a sweet if slightly clichéd track.

3.5/5

Track 13- Bassline Junkie (bonus track)

Bonus track Bassline Junkie was originally featured upon one of Rascal’s mixtapes, but due to radio airplay and surprise commercial success, the song makes an appearance on this album as a bonus track. The song finds Rascal rapping about how he doesn’t need a bunch of drugs, because he is apparently addicted to bassline’s in music. The song is a weird but catchy tune that is the most grime that the artist gets on the record, and is probably the track that fans of his earlier material will love, even if it is annoyingly repetitive.

3/5

Final Review

The Fifth is an album where Dizzee Rascal definitely experiments with his sound more than ever before. Yet this definitely isn’t a good thing. That is not to say that the more dance orientated styles of the record aren’t good, but at times the artist just embeds himself into genres that are suited to different artists, and which don’t really push the music into any interesting territories. Whilst the rapping is slick, more often than not Rascal relies on clichéd ideas of sex, women and money, making you forget the forceful, really engaging artist that Rascal once was. And whilst most of the guest features are good, some artists either steal the show a little or just don’t have the right amount of energy, resulting in a record that has a mixed bag of good and bad songs, and which feels like the rapper will really have to go back and take a look at who is as an artist.

Best Track- Arse Like That (featuring Sean Kingston)

Worst Track- Superman

Jay Sean- Neon Album Review

Album- Neon

Artist- Jay Sean

Once upon a time British singer songwriter Jay Sean was one of the rising stars of the worldwide music scene, with such hit songs as Down and Do You Remember. But with an album that didn’t match up to the stars singles success, and the long period between that release and a brand new album, Jay Sean has seemingly gone back down to the bottom of the music pile, with his latest record Neon only reaching 116 on the Billboard 200 and not even charting in his native country. But is Neon really that bad an album

Track 1- Neon

Title track and opening number Neon is a typical relationship driven pop number that is built around a simple guitar refrain and continuous drumbeat. The song finds Sean in a seemingly euphoric state where this girl makes his world seem like everything is neon, a sweet if bland pop message that is made equally more inoffensive by Sean’s simple vocal performance, which shows off some of his range nicely but also feels a bit boring in terms of the vocal layering and the slight use of Auto Tune. The production of the track seemingly tries to make this a powerful number, but unfortunately the drums and guitar just feels like a sound that was too easily created and lacks the originality that would make this a more exciting album opener.

3/5

Track 2- Luckiest Man

Another firmly pop driven affair, Luckiest Man is a straightforward love song from Sean where he sings of feeling lost after losing this girl, as when they were in that relationship he was really lucky. The message might be sweet and will please some of Sean’s female fans, but ultimately the lyrics of the song are based in bland clichés that make this a limp love song. The production value is powerful but the mixture of piano, heavy bass and slight synth touches feels like a simple love song sound designed to be something that would produce commercial success. Vocally, however, Sean is on better form, giving us a vocal based a little more in his higher register and which showcases the singer to better effect.

3/5

Track 3- Words

Beginning with a light vocal ‘ooh’ from Sean that signals this is another typical pop track, Words is another more guitar driven piece that is meant to act as more of a stadium sized stomper than the previous tracks. The song’s lyrics do tread into cliché sounding territory, but the message of being careful with the words you say as others can perhaps misinterpret them and be hurt is a strong message that is here wrapped around a catchy chorus. The songs light essence also allows for the singer to show off his vocal power and create a vocal performance that really builds and grabs the listener’s attention. The production does fail the song a little as the stadium sized pop sound edges towards commercial One Direction cast off territory, but this does bring the record into slightly stronger territory.

3.5/5

Track 4- Where You Are

Neon’s lead single, Where You Are is ultimately a light pop affair that could have been written and sung by a number of artists. The lyrics find Sean singing of how this girl is great and how he just wants to be where she is, but the lyrics are really bland and so heavily clichéd that you have a hard time believing him. Sean’s voice is charismatic but not enough to hide boy band clichés in the song, particularly in terms of the awful ‘yeahs’ and ‘oh’s’. The tracks production is equally bland, with the light pop guitar riff and the bass just having this just there tone that doesn’t excite the listener and makes the song an all-round no impression leaver.

2/5

Track 5- Guns and Roses

Guns and Roses finds Sean in another state of boy band driven guitar fodder, opening with an annoying ‘oh woah’ beginning that is pure stupidity. The song focuses on Sean singing of this girl who can drive him out of his mind, but if this girl loves him then it is worth it in the end. The singer’s soft voice brings out the love based sentiment nicely, but every lyric of the track seems like it has been pooled from the sea of past pop love songs. Keeping the production based in this guitar loop is nice in creating a soft setting that allows the lyrical message to shine, but it is also a sound that shows that Sean is missing a few boy band members.

2.5/5

Track 6- Mars (featuring Rick Ross)

With Mars the album is finally changed up to feature more of a rumbling RnB sound. The production of the track is slick with a snappy bass foundation and fluttering electro swirls that creates this seductive tone for the song. The seductive essence of the track is also brought out by Sean’s great use of his falsetto, where he is just really charismatic and lovely to hear. The track finds Sean asking this girl if he can take her to mars because he is high on her love, but the lyrics definitely just wash over you against the vocals and production. However Rick Ross does provide a slick rap for the bridge that gives the track a nice urban flavour, making this a welcome change in the record.

3.5/5

Track 7- Miss Popular

Sticking with the more RnB driven vibe. Miss Popular finds the singer telling this girl that he would wait on a girl like her, because she is apparently just great. The song buys into that cliché of a beautiful girl having guys lining up for her, but with the singer’s light vocal tone you can kind of believe that he can be the man for such a girl. The rumbling drum beats and guitar undertones creates a sound that keeps the track ticking along, but it isn’t a sound that keeps you really invested in the song, nor does it sound in any way original.

3/5

Track 8- Close to You

Once again the record is changed to more of a dance pop orientated set with Close to You, a song that finds Sean telling this girl of how he wants to get closer to her, because he can’t get her out of her mind. The lyrics are more effective with this track, with the repetition in the chorus actually sounding really catchy, whilst Sean’s vocal performance is great has he gives us a lilting performance that is imbued with this sense of charisma and which nicely utilises his falsetto in places. The stomping electro rhythms also create a much more interesting tone that finds the singer almost giving us a euphoric dance track that is actually fun to move around to.

3.5/5

Track 9- Deep End

The electronic based sound is kept going with Deep End, but this time the bass is made a bit more forceful, and the work can almost be seen to have a dubstep edge. Here we find Sean singing about how he doesn’t want to spend another moment without this person and just wants to dive into the deep end with them. The metaphor laden lyrics are quite catchy even if Sean relies on clichés, whilst vocally things are nice as the singer’s voice shows a little bit more depth, with the layering of his voice in the chorus making for a catchier listen. The way that the production builds up into this stomping dance breakdown after the chorus makes for a more dynamic song that sees the singer fit into a much more interesting pop mould.

3.5/5 

Track 10- Worth It All

After the heavy dance pop edge of the last track the singer transports us back to more acoustically driven RnB pop with Worth It All, a song that focuses on Sean telling this girl that if they just keep going through the motions with their relationship, then it will be worth it in the end. The lyrical message is just a soppy idea embedded in so many pop clichés it is terrible, whilst the blend of clattering beats and a simple piano line creates such a typical RnB pop sound for this kind of track that I wouldn’t be surprised if someone claims Sean has ripped them off. The songs only saving grace is the singer’s light and slightly charismatic vocal, but even at this stage is voice is too familiar and the type of performance he gives feels like the same delivery for a number of songs.

2/5

Track 11- Passenger Side

Beginning with this moody arrangement, Passenger Side is a dark and sensual RnB track that finds the singer being more explicit. Sean still plays the love struck man in terms of the lyrics depicting him as this guy who wants this girl back in his life, but the song has much more of a sexual innuendo laden quality. The singer’s vocal performance is also stronger in terms of the layering of his voice giving the song a slightly rougher texture in a way, whilst the bridge also sees Sean giving us quite a slick rap style performance. The clattering bass and stuttering rhythm creates a cool RnB flow to the song that is much more interesting than some of the other production on the album.

3.5/5

Track 12- All on Your Body (featuring Ace Hood)

Continuing with the sex based material, All on Your Body finds Sean telling this girl to call him up for a good time, with this girl being so great. The lyrics are catchy in their way but once again the clichés creep in, whilst Sean also comes across as a bit egotistical. Vocally things are slick and smooth, but there are a few Auto Tune moments that are just annoying. Ace Hood provides a typical rap, and whilst the clunky beats and snappy dance tone of the production is vibrant and more attention grabbing than some of the previous material, the song is another track that seems like it has just been designed for chart success.

3/5

Track 13- Breakadawn

The slinky, clicky beats of the production creates a cool RnB flow to Breakadawn, but on the whole the song is really poor. Here we find Sean singing of how he and this girl are just going to be having sex till the break of dawn, with the whole lyrical composition sounding stupid, egotistical and over repetitive. Busta Rhymes also provides an annoying rap that just washes over you, and whilst the vocals are once again slick, they don’t do anything to keep you interested in the song. The track also feels silly coming right after the similarly positioned All on Your Body, so Sean just sounds like he can’t make different music.

2.5/5

Track 14- Sucka for You

If the change in sound on this record wasn’t enough, Sean decides to go for it again with Sucka for You, a pop song that has a slight reggae tinge. The song finds Sean telling us of how he is apparently a sucker for this girl who is a bad person, with the whole lyrics having that foolish man and femme fatale narrative idea that feels like the singer is just ripping off a bunch of Hollywood films. The slight reggae tinge to the song with the snappy beats also doesn’t do anything for the track, rather just feeling like the singer want’s to cover all his musical bases so people will buy the record, which ultimately just makes the record stupid.

2/5

Track 15- Universe

Final track Universe ends the album in a really clichéd way, as Sean treats us to a soppy, acoustic led love ballad. The song finds the singer telling this woman of how he loves her and how she is still so beautiful to him, with this girl apparently being the centre of his universe. It is a terrible male pop statement that is complete with a terrible ‘na na na’ hook, and although Sean has a charismatic vocal style, the songs bland qualities are unavoidable. The guitar riff is equally as stupid, and therefore it will only be the singer’s female fans who love bland pop music that will like this track.

2/5

Final Review

Basically, Neon is a really bad pop and RnB album that is embedded within a flurry of truly awful pop clichés, whilst the singer also comes across as just choosing particular sounds so that his songs can cater to different audiences and have commercial success. Sean does have a charismatic voice, but more often than not he comes across like an ex boy band member who is missing his fellow members for the work to sound good. Even at its best the production of the album sounds unoriginal, and so it makes perfect sense that Jay Sean has gone into relative obscurity in the mainstream charts.

3/10

Best Track- Deep End

Worst Track- Universe

Sub Focus- Torus Album Review

 

 

 

 

 

 

 

 

 

 

Album- Torus

Artist- Sub Focus

Sub Focus is a English electronic music producer who has slowly been rising in his musical appeal, with 2013 being a good year for the artist with a couple of top twenty hits in the UK and his album, Torus, reaching number 11 in the UK album charts. The artist still has a way to go before becoming a household name in the music industry, and (although he might not want to) he still has a way to go to gain an international following. But is Torus actually a gem of an album that could actually deserve bigger success than it has?

Track 1- Torus

Title track and album opener Torus is more of a slow burning intro to the record that was initially designed as an introduction of the artists live sets. The song has this apocalyptic, tense feel that builds drama and sets things up for the listener to expect grand things from the record. The track features some rumbling bass and frenzied electro rhythms that build to towards this intense dubstep breakdown that will definitely excite the artist’s fans at live shows. The quirky opening dialogue of add a cool cinematic feel to the track, and the only real issue here is that at nearly 6 minutes in length the track kind of simmers out in energy levels before it should, and would have just worked better if the last minute or so was condensed.

3.5/5

Track 2- Safe In Sound

Featuring uncredited vocals by Julian Benetta, Safe In Sound was one of the earliest recorded tracks for the record. The song finds Benetta in this kind of apocalyptic state where things aren’t going right around him, but him and his partner are safe within the music. The lyrics are potent in their way but the chorus isn’t quite catchy enough for it to be the sole lyrical component of the track. The sampling of an Irish folk song adds a cool haunting element to the music, whilst Benetta’s vocal is strong in its wispy way where he conveys this sense of pleasure mixed with melancholy. Production wise the track features a cool blend of heavy hitting dubstep rhythms and razor sharp synth notes for a sound that is equally as dramatic and melancholic as the lyrics and vocals, whilst still being forceful and vibrant enough for the artists primary audience.

3.5/5

Track 3- Endorphins (featuring Alex Clare)

Initially featuring various female vocalists before the arrival of British singer- songwriter Alex Clare, Endorphins is a romantically intense affair featuring rumbling dance beats and an almost aggressive and melancholic tone. The song focuses on Clare wishing for this girl to want him and the fact that he doesn’t feel good enough for her, even though he cares so deeply. The weariness of the verses is nicely offset by the passion of the chorus, and Clare’s vocals nicely bring this essence of being consumed by love, with his naturally gritty tone really complimenting the simplicity of the dance sound around him The rumbling beats and build up to the post chorus dance moment is good, but when the beat kicks in for you to rave about to it doesn’t quite hit you with the force that it should.

3.5/5

Track 4- Out the Blue (featuring Alice Gold)

Out of the Blue is another song that features a cool vocal from an English singer-songwriter that you wouldn’t necessarily expect to be collaborating on a dance track. The song is all about how love is this thing that is magical and unexpected, and whilst once again we just have a simple lyrical composition of primarily the chorus and a few other lines, this time it works and the chorus really grabs your attention. This is really because of the awesome vocal that Alice Gold gives, bringing this airiness to the track that is still full of depth and nailing the emotional sentiment of the lyrics with the restraint and control of her vocals. The production features some shimmering synths and a euphoric sensibility that works really well, and at this point in the record we definitely are given a more uplifting tune, although the melancholic weariness is still there and still works really well.

3.5/5

Track 5- Twilight

Twilight is one of the more understated pieces of the set that allows you to take a rest from the dance/dubstep craziness and revel in the songs ambience. The song’s lyrics find an uncredited male vocal waiting for this magical twilight, with the vocal having a soothing quality that nicely blends with the clattering, chilled synth tones of the track, making this a cool sort of interlude within the record.

3.5/5

Track 6- Close (featuring MNEK)

Rising British singer-songwriter MNEK lends his soulful vocals to Close, a song all about love, in which MNEK feels this love that is like a dream and there is just this beautiful attraction between MNEK and this partner when they are so close to each other. MNEK is definitely the selling point for this song, giving us this soulful vocal that has this sensual edge and which brings a cool old school vibe to the track that would make it an awesome song to hear in a club setting. The style of the synth percussion and the simmering energy of the dance production creates this cool energy to the track that gives us a pure and simple dance tune not riding on the wave of bland dance rhythms that characterises the work of some DJ’s.

3.5/5

Track 7- Turn It Around (featuring Kele)

Fifth single Turn It Around is a relationship based number featuring vocals from Bloc Party lead singer Kele. The song finds Kele telling this person that he does not know what has been said about the two of them, but they can turn the relationship around and become stronger. The soft build of Kele’s vocals is smooth and enjoyable to listen to, whilst the passion of the lyrics is catchy even if the composition is a bit too simple with the use of repetition. The fuzzy dance rhythms of the track with the heavy dubstep beats and clicking synth notes is fun if a bit safe and too obviously Sub Focus at this point.

3/5

Track 8- Out of Reach (featuring Jayelldee)

Out of Reach changes things up from the stomping dance feel of the previous track to slightly more of an ambient song with an island vibe and a rock feel. The song finds guest vocalist Jayelldee singing of how she is out of reach with this person as time has gone by and they have become different people. The lyrics are simple and sweet albeit too repetitive, whilst Jayelldee gives us a smooth and light vocal performance that to me reminds me of singers of the 80’s, having a distinctive tone that is fun to hear. But once again Sub Focus makes sure that he is centre stage with the production, blending the typical array of synths and drum n bass with some electric guitar and tinny percussion that just gives the song this euphoric quality that is really lovely to hear.

3.5/5

Track 9- Falling Down (featuring Kenzie May)

Lead single Falling Down was released almost two years before the actual album and features vocals from London based singer-songwriter Kenzie May. A typical synth track with a drum n bass style, the synth hook of the track was interestingly initially designed for music group Skrilliex. Indeed the dubstep breakdown makes the song sound like it could be a Skrillex tune, but whilst that is this case, it does not mean this is a negative quality. Rather it shows that Sub Focus can deliver different types of interesting production. Kenzie May’s vocals are light and simple whilst the lyrics just create a central, catchy quality to the song, but the track is a bit lyrically sparse, and will be more appreciated by listeners who just love to hear more instrumental, production led material.

3.5/5

Track 10- Turn Back Time

With Turn Back Time Sub Focus gives us a track that harks back to the 90’s, as the song as a 90’s rave sound in terms of the bleeping electronic notes and the lush piano line. The song features smooth and rich vocals from uncredited singer Yolanda Quartey, who provides us with a performance that feels like it has been taken straight from the 90’s. The song is lyrically simple as Quartey expresses the wish to turn back time in order to be with this person. The message of turning back time is funny and intriguing against the songs throwback sound, and what Sub Focus does is brilliant, as he creates a song that is fresh and exciting, but which also feels like a well-known classic.

4/5

Track 11- You Make It Batter (featuring Culture Shock & TC)

Reportedly one of the last songs recorded for the album, You Make It Better is a simple drum n bass number from the artist with a nice hook and good vocal performance from featured artist TC. The song focuses on TC singing about how this person makes them feel like everything is alright and that they will be ok. The vocals are layered nicely and act as the songs powerful centre against the sea of swirling electro notes and heavy beats, but the track could do with a few more lyrics, as this time round the production doesn’t have quite enough power to keep you totally engaged with the music.

3/5

Track 12- Tidal Wave (featuring Alpines)

Being the singer’s highest charting track at the time of its release, Tidal Wave is a lush dance tune that deserved its success. The track is lyrically a romantically inclined tune in which guest artist Alpines sings of how this person cannot just give their feelings away like it is nothing, and they just want to break this person’s armour and feel their love collide. The lyrics are simple but poetic and rich, whilst Alpines provides a light and passionate vocal performance that gives the song a rich quality and which embeds the track in this state of euphoria. But Sub Focus is great with the production in that the stomping drum and bass breakdown and the shimmering tone of the synth notes creates an equally as euphoric essence to the song, making this a complete package that you can just lose yourself to.

4.5/5

Track 13- Until the End (featuring Foxes)

Final track Until the End features rising stars Foxes, and was reportedly inspired by the soundtrack to the 2011 film Drive. Here we find Foxes singing of how she wants this person to promise they will be there for them until the end. The lyrics could be better but the repetitive hook is catchy, whilst Foxes provides us with a distinctive and airy vocal performance that perfectly works with the songs moody sound. Sub Focus provide us with a great sound for the song with his blend of thumping bass and 80’s styled synths, creating a euphoric and moody track that acts as the perfect finish for the record.

3.5/5

Final Review

Torus is a well-designed dance music album that sees Sub Focus combine his great sound with a distinctive array of great guest vocalists. The DJ produces a good blend of synth and drum n bass led songs that work well as a cohesive piece, whilst each of the guest vocalists provide rich vocal performance that meld with the songs lyrical sensibilities. The lyrics are tightly structured and catchy, although at times things are lyrically sparse, and sometimes the production can feel a little bland. But on the whole we have an album that feels like a complete musical journey, and which shows that Sub Focus is better than his peers and deserves more success.

7.5/10

Best Track- Tidal Waves (featuring Alpines)

Worst Track- You Make It Better (featuring Culture Shock & TC)

Various Artists- Frankenweenie Unleashed! Soundtrack Review

 

 

 

 

 

 

 

 

 

 

 

Album- Frankenweenie Unleashed!

Artist- Various

Director Tim Burton has been for some time a renowned director known for films that have a quirky style but are full of heart. Music is seemingly a major force within the Tim Burton world, but recently is films have also created soundtracks of songs by a range of artists who are inspired by the film. The latest offering is Frankenweenie Unleashed, inspired by the 2012 film Frankenweenie, whose narrative focused on a young boy named Victor and his love for his dog who dies, and who Victor brings back to life. Could this soundtrack be a sign that we should pay even greater attention to Burton’s work?

Track 1- Strange Love (performed by Karen O)

Karen O is more widely known for her role as the vocalist for the American Rock Band Yeah Yeah Yeah’s, but she has also had involvement in soundtrack work before, and was approached by Tim Burton himself to produce a song for the film. Inspired by the B movie fright films that were referenced in the film, Strange Love is a quirky and peppy mid tempo song that feels rooted within the film in terms of the love sentiment. The lyrical content focuses on how love can be strange, but you should kind of accept that. The message is strange overall but the lyrics have a sweetness that will appeal to the films core demographic, whilst the singer gives us a fragile, cute vocal performance that becomes embedded in your head through the varied vocal range that she uses. The production features quirky drum percussion and guitar rhythms that feel a little European to me in terms of the tone, and although this is just a cute but weird song as a whole, it is appealing and nice in terms of the movie.

3.5/5

Track 2- Electric Heart (Stay Forever) (performed by Neon Trees)

American, alternative rock band Neon Trees give us a light and almost euphoric feeling rock song that also sounds pop influenced and finds the group in this mixture of a jolly and calm, mid tempo state. Lyrically the track finds lead singer Tyler Glenn singing to this person about the way he used to feel, with the chorus focusing on how if they stay together then love will always be there. The song very nicely slots into the Frankenstein narrative of the film in terms of using electricity to revive the dead, but for me the song’s lyrics are also sweet and innocence and could stand alone as a single outside of the movie. Glenn gives us a smooth and light vocal performance that has a slight suave characteristic in the bridge and which also shows of the power of his voice in the last chorus. The production features a cool blend of a gritty electric guitar, clattering synth beats and a heavy bass drum to create this almost sedated but still bouncy and uplifting sound that is attention grabbing and makes for a great tune.

4/5

Track 3- Polartropic (You Don’t Know Me) (performed by Mark Foster)

Mark Foster (the lead singer from Foster the People) gives us a funky, up tempo indie track that features a harsher sound than the previous tracks and more of a negative lyrical basis. We find the singer seemingly fitting himself into the role of Victor from the movie in terms of giving us this simple sentiment of being an outsider. The lyrics are very catchy in terms of the twisted but direct message that people can relate to, whilst Foster gives us a dark, ethereal vocal that is nicely layered and grows in power. Production wise the song features a frenetic piano melody, haunting strings and heavy drum beats that gives us this dark song that builds in power, and which is also invested in fright films of the past like the albums opening number.

3.5/5

Track 4-Almost There (performed by Passion Pit)

Appearing as a bonus track on the Japanese Edition of their album Gossamer, Almost There is a mid tempo tune by Passion Pit with frenetic electro beats and ambient synths that give a transition in the mood of the record. Lead singer Michael Angelakos gives us a delicate vocal performance that has this nice intense quality about it and which finds the singer seemingly conveying this message of going through some hurdles to get to the other side. The song features a cool blend of peppy bass and smooth electro beats with these light synth notes, and so although the song is perhaps a bit too lyrically sparse and a bit too instrumental heavy, the track has this inspiring, happy but fragile tone that gives it a cute and almost heart-warming quality.

3.5/5

Track 5- Pet Sematary (performed by Plain White T’s)

A cover of a song by the Ramones, Pet Sematary once again finds the album changing again, as American pop punk band Plain White T’s give us a stomping pop rock effort. The song lyrically finds the group singing of how they don’t want to be buried in a pet sematary and don’t want to live life again, with the song’s lyrics working well with the storyline of the film even though the track wasn’t designed for the film. The vocal performance is smooth and simple and effectively taps into the emotion of the lyrics, but the production is easily the tracks best asset, with the flourish of strings and crashing cymbals making for a grand finish to the songs latter half.

3.5/5

Track 6- With My Hands (performed by Kimbra)

New Zealand singer-songwriter Kimbra provides us with a stomping indie pop number complete with a quirky vocal delivery and some snappy hand clap beats in the form of With My Hands. Lyrically we find the singer telling us of how she can put us back together, focusing on the reanimation perspective of the film. The lyrics are nice but the way that Kimbra delivers the lines is much more interesting, with the artist dipping into various elements of her range to create this languid but equally snappy edge to the song that makes it seem as if she definitely means what she is saying. The layering of the singer’s voice also works really well in creating an extra layer of passion to the track, making this a smart and snappy addition to the soundtrack.

3.5/5

Track 7- Everybody’s Got a Secret (performed by Awolnation)

Featured on the deluxe edition of the groups debut album, Everybody’s Got a Secret is a bubbling mid tempo track from American electronic rock band Awolnation. The song focuses on the band telling us of how they and everyone has a secret, and how they think about their secrets and how something good should come from such things. This song is probably one of the tracks that doesn’t work as well within the soundtrack, as the song has this quality of being focused on different situations, but with the commanding and tender vocal performance the track does seem to tap into the mind-set of having a secret very well and links with the films main character. The stomping, bass led rhythms of the song creates a vibrant tone that works simply but effectively, keeping you engaged with this idea of having a secret.

3.5/5

Track 8- Immortal (performed by Kerli)

Immortal focuses on the idea of growing up in life and coming to this point where you take a risk and feel immortal with this person by your side. Initially recorded by Finnish artist Tarja, the song was reworked by the initial singer and writer of the track Kerli, giving us a song that taps into both the life and friendship elements of the film. Kerli’s voice is really distinctive and has this smooth but slightly vulnerable texture that brings out the emotive qualities of the lyrics very nicely. The blending of thumping pop rock production with shimmering synth notes creates a grand tone to the track that almost makes it feel like we are listening to the albums emotional epicentre.

4/5

Track 9- My Mechanical Friend (performed by Grace Potter, The Flaming Lips)

Another shimmering, haunting song that focuses on the idea of friendship that is one of the films foundations, My Mechanical Friend finds American singer Grace Potter teaming up with American rock band The Flaming Lips for a rock heavy song that is infused with some electronic notes. The songs production is another grand affair built around a looping drum beat and forceful guitar riffs, with bleeping electronic notes punctuating the track throughout. The song simply finds Potter telling us of how she is going to stitch up her mechanical friend and bring them to life, being lyrically cemented in the main narrative of the film. Yet because of this the lyrics don’t really have that much of an impact, and whilst Potter gives us a moody vocal performance, the production feels like it overpowers things, whilst it seems quite pointless to credit The Flaming Lips considering they only really give us some background vocals.

3/5

Track 10 Lost Cause (performed by Imagine Dragons)

American alternative rock band Imagine Dragons provide us with Lost Cause, a song that brings the record down to a slightly darker place, as lead singer Dan Reynolds sings of being a lost cause and digging his own grave. The song is much more lyrically intriguing as the song could be relatable to the idea of reanimating a dead dog being a lost cause, or could be related to the idea of a boy being lost without his faithful companion. Reynold’s vocal performance is great in the way that he controls his vocal in the verses and then belts out the chorus with the right amount of passion and pain, creating this vocal performance where you are continually attentive. The simple tone of the production with the use of a subtle piano line, thumping rock rhythms and nice electro flourishes creates this intense but steady sound that makes the song more of a complete package.

3.5/5

Track 11- Underground (performed by Grouplove)

Underground finds indie rock band Grouplove telling us of how it is nice to know that someone is safe underground and that you can be at peace with this idea. The song nicely offsets the darkness of the previous track, with lead singer Hannah Hooper providing us with a light vocal performance that feels full of warmth and which is emotive enough to make the song feel believable. At times the production could be taken down a notch, but ultimately the blend of guitar, drums and strings just creates a bright texture for the song that makes things feel passionate and heartfelt, despite the ‘woah’ hook being incredibly annoying.

3/5

Track 12- Building a Monster (performed by Skylar Grey)

Once again we have a song focused upon the idea of reanimation with Building a Monster, a song where American singer-songwriter Skylar Grey tells us of how she is building a monster and how she isn’t who people thought she was. Lyrically it interesting in a way, but vocally Grey’s voice feels very weak, and therefore the lyrics don’t have the right level of impact that they should. The mix of strings and military style drums is nice but becomes bland after a while, creating a dark moment in the record that feels slightly pointless.

2.5/5

Track 13- Witchcraft (performed by Robert Smith)

A popular song originally made famous by Frank Sinatra, Witchcraft lyrically focuses on the idea of The Cure lead singer Robert Smith being overpowered by witchcraft. The idea of witchcraft doesn’t seem to totally fit with the ideas present in the film, but Smith provides us a with a quirky vocal performance flecked with some nice high notes, whilst the soulful, jazzy qualities of the production with the use of piano provides an interesting sound for the soundtrack as a whole, even if it doesn’t fit as comfortably alongside the other songs.

3/5

Track 14- Praise Be New Holland (performed by Winona Ryder)

The closing track of the record actually prominently features in the film, and finds actress Winona Ryder (who voices one of the film’s characters) praising the town of New Holland, which is the films setting. As such it is hard to actually judge the song, and really this is just a bonus track that makes sense if you watch the film.

Final Review

Frankenweenie Unleashed! is a really strong collection of songs inspired by a film, with each of the songs being really relatable to the film’s storytelling. Each of the individual artists bring something different to the soundtrack but remain within the same realms, with tightly structured lyrics and slightly different sounds that still come together for one coherent piece. Some of the production could have been toned down and the vocals could have been improved for some songs, whilst the latter half of the record does slip in quality. But all in all this is an accomplished accompanying soundtrack that shows Tim Burton has a great ear for music.

7/10

Best Track- Electric Heart (Stay Forever) (performed by Neon Trees)

Worst Track- Building a Monster (performed by Skylar Grey)

Sophie Ellis- Bextor- Wanderlust Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Wanderlust

Artist- Sophie Ellis-Bextor

Sophie Ellis- Bextor was once the queen of the dance floor, with her signature electro pop style giving her a plethora of hit singles. But after the poor performance of her last album and the parting of ways with her record label, Bextor was definitely at a strange place in her career with her next album. As such Wanderlust represents a new beginning in many ways, coming after the stars high profile role on the latest series of UK talent show Strictly Come Dancing, and presenting a change towards a more folk driven sound. But is this new beginning a good thing, or will people be wanting the old Sophie Ellis-Bextor back?

Track 1- Birth of an Empire

Opening track Birth of an Empire immediately shows of the singers change in sound with the swirling orchestral strings that creates this Eastern European flavour to the song. Here we find the singer telling us of how things are changing and how she is always going to be close, with the singer reflecting on this empire being born. The metaphorical edge to the lyrics is really intriguing with a poetic quality to the verses, whilst the chorus still has that catchy pop tone. What makes the song work is Bextor’s vocals, as her airy tone creates this euphoric quality that makes the lyrics that much more believable. The vocals are also nicely offsett by the forceful production, with the thumping military beats of the bridge making for a grand finish to the final chorus.

3.5/5

Track 2- Until the Stars Collide

The Eastern European quality of the album is firmly cemented within the looping instrumental backdrop of Until the Stars Collide, which is made complete by the use of thumping drum beats and a slightly mournful string arrangement. The song finds Bextor telling us of holding onto fiction as she sings about this forlorn love which she cannot move on from. The lyrics edge into fairy-tale cliché, but Bextor manages to make the song feel like a smart analysis of life, and with her airy vocal tone she makes the song feel like it has this really classy edge and is built upon honesty.

3.5/5

Track 3- Runaway Dreamer

With a fast paced string opening that is intriguing and has this almost Bollywood feel, Runaway Dreamer finds Bextor singing of using her imagination to escape life and just indulging herself, whilst promising her baby that she is here to stay. The production works really well in terms of building up as the song goes on, starting with just a simple drum and piano backdrop before being joined by shimmering string notes and some tinny percussion. The wistfulness of the lyrics are beautifully brought out by the delicacy of Bextor’s vocal performance, creating this swaying, chilled feel that will probably have you day dreaming, and which is ultimately just amazingly pretty.

4/5

Track 4- The Deer & the Wolf

The Deer & the Wolf reads like a very strange title for a song, and indeed the track is a little strange, as the singer talks about how these two animals never try to get along, but have this unknown bond. Yet the story that the singer tells has this lovely metaphorical essence that is really interesting and makes you think about the nature of relationships. Things are given more of a simple pop rock tone with the bubbling guitar riff and snappy drum beats, whilst the sound is also nice in giving us more of an upbeat song for the record that you can almost dance along to. Bextor’s vocal performance is really strong as her wistful voice creates a lovely light tone to the track that makes you listen to the lyrics and their potential meaning a little more, whilst the singer also shows great control of her voice, with the production and the vocals also really working in sync.

3.5/5

Track 5- Young Blood

Lead single Young Blood is a wistful pop number that finds Bextor in a delicate state amidst a sea of soft military drum beats and a delicate piano line. The firm acoustic setting of the song creates a really light backdrop for the singer’s vocals to really shine, with Bextor’s vocals having a bit more power and grabbing your attention a little more. Lyrically the track reflects upon the aging process, with Bextor looking back at this relationship and how this person gives her young blood because they love her. The lyrics are firmly constructed with a lush pop chorus that is immediately catchy, whilst Bextor just paints this picture of eternal love that is lush to listen to. The addition of strings and choir like background vocals creates an extra layer of euphoria, making this a great choice of lead single.

4/5

Track 6- Interlude

With the fuzzy, radio tuning backdrop, Interlude is an intriguing song that finds Bextor remembering how to love and looking back at this relationship that apparently echoes in her mind. The lyrics aren’t as strong as some of the other tunes, but with the fuzzy tone of the production with its mix of piano and guitar a delicate, almost 60’s feeling sound is created that harks back to good times and which makes the lyrics feel more honest, whilst the singer gives a languid vocal performance that is still really engaging, with the song also sounding well rounded despite its short length.

3.5/5

Track 7- 13 Little Dolls

13 Little Dolls is probably the song that fans of the singer’s past music will love, as this is the most dance feeling track on the set. Here we find the singer telling us of Russian folklore and telling us to find these 13 little dolls and keep them safe. The narrative quality of the lyrics is fun and intriguing, whilst the rumbling drums and swirling string notes creates a thumping sound, with the use of an organ creating an extra kick to the track that means that it is feisty and packs a punch. The only issue is that the singer’s soft voice can sometimes feel a little buried in the production, but on the whole the vocal performance is equally as feisty and passionate, creating a nice upbeat number that changes the record up a little.

3.5/5

Track 8- Wrong Side of the Sun

Bextor sings of wandering through life and wanting something in the past that she couldn’t get on Wrong Side of the Sun, another track that has a retrospective lyrical edge. Yet at this point the singer’s wistful looking back is slightly too familiar, with her languid vocal performance sounding nice but not being powerful enough to keep the listener engaged. The folk pop sound nicely ebbs and flows in energy with a good mix of drums and strings, yet this acoustic environment also isn’t different enough to keep you engaged, making this the first song of the record where you feel that Bextor has put herself so much into this folk pop world that her songs will sound too familiar.

2.5/5

Track 9- Love Is a Camera

The piano line and the punchy drum and guitar notes creates an interesting dynamic for Love Is a Camera, a song that sort of feels influenced by the singer’s time on Strictly Come Dancing, in that the track’s sound has that ballroom dance feel. Here we find the singer telling us of how love is like a camera in that you have all these memories and can still treasure that love when it is gone. The concept is interesting, and the singer’s vocal performance works well with the wistfulness of this concept, but really the vibrant production takes centre stage and is that component that keeps you listening, with the final frenzied minute of the song adding a lovely twist to the end.  

3.5/5

Track 10- Cry to the Beat of the Band

The military style of the hand clapping beats of Cry to the Beat of the Band is another interesting layer to this album’s sound that keeps you invested in the record, with this particular track also having a bit more of a grand tone. The song finds Bextor telling us of how she left this person, and how this guy is going to be crying to the beat of the band and will probably hate this girl all his life. The song smartly taps into that idea of realising you have to leave someone even if it will really hurt them, with Bextor’s vocal performance bringing out both the vulnerability and strength of the song, with the layered chorus sounding really great and creating this choir like effect. Production wise the song is a stomping effort with a forceful bass that always commands your attention, and with the choral finish, this is a song that just continually keeps you interested.

3.5/5

Track 11- When the Storm Has Blown Over

After the stomping quality of the previous track, Bextor ends the record on a much softer and more atmospheric note with When the Storm Has Blown Over. Lyrically the singer gives us an array of images and expresses this idea of getting through hard times and coming out stronger and happier. The use of metaphor is slightly clichéd, but Bextor makes the track feel really sophisticated and powerful, whilst the softness of her voice creates this delicate essence that makes you feel as if the singer will really be there for you. The indie tone of the production with the simple guitar riff gives the track a haunting tone that perfectly cements the lyrical message, creating a lovely, soft finish to the record.

3.5/5

Final Review

Wanderlust is definitely an album that shows that a reinvention can definitely pay off. The acoustic led folk pop sound of the record suits Bextor’s voice beautifully, with the Eastern European flavouring of some of the tracks adding an extra layer of vibrancy to the whole piece, which makes for a more dynamic record. The classy essence of Bextor’s voice has always existed within her music, but with this album the vocals shine, with Bextor’s performances really prettifying the songs on many occasions. The lyrics are composed well with a poetic tone that captivates you, and although on the whole the singer could have drawn a little away from wistful metaphors, the tracks are widely intriguing and still cemented with catchy pop choruses. This is a fine record that will hopefully see the singer have some renewed success, and which shows that Sophie Ellis- Bextor was always much more than the electro pop skin we thought we knew.

8/10

Best Track- Young Blood

Worst Track- Wrong Side of the Sun