Ke$ha- Warrior Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Warrior

Artist- Ke$ha

Ke$ha was the 21^st century party girl who jumped onto the worldwide commercial music scene with her big selling music hit Tik Tok. Yet the singer seems to be suffering commercially with her newest record, with this album selling much less than her debut. The record second single also ended the singers streak of Billboard Hot 100 top ten hits. So it would seem that the singer will really have to do something to get herself back to the top of her musical game. But is this really such a bad record?

Track 1- Warrior

Ke$ha kicks things off with the album’s title track, a grand, feisty pop tune that finds the singer becoming this metaphorical pillar of strength, a theme that seems to be signature Ke$ha. The track finds the singer telling us of her and other people (presumably her fans) were designed to push the boundaries and are misfits but that is okay. The song isn’t a strong way to begin the record with: although the singer brings a feisty rap style to the verses that is catchy, the lyrical content of the track feels bland and familiar territory, and so lacks all fun. The song is also annoying in terms of the vocals of the chorus, which are Auto Tuned really badly and so just sounds annoying and lifeless. The production does create a nice energy to the song that is vibrant, with frenzied electro pop rhythms, a slight rock groove and a grand breakdown for the middle section that makes the song really powerful. Things would be great if the lyrics and vocals were just really worked on.

3/5

Track 2- Die Young

The records lead single, Die Young is a fun pop song that served as a kind of comeback single for the singer. Die Young lyrically focuses on the idea of living life for the moment as we do not know when life will unfortunately end, with the chorus having a simple quality that is really catchy. The verses find the singer employing her rap style vocal to great effect, with a flirtatious and almost spontaneous edge that is weird but cool at the same time. The vocals here are light and simple and nicely show of the singer’s voice a little bit more than usual in the chorus, with the use of background vocals in the final chorus creating this choir effect that makes the final section even more fun and powerful. The production of the track is a typical Ke$ha style with electro pop and up tempo dance beats, but the song is a bit different through the use of acoustic guitar strums and New wave synths, however although the sound is light and fun, the drums do feel a bit typical of today’s pop world, particularly in terms of how the beginning of the track with the acoustic drums feels highly similar to the beginnings of one or two different pop tracks released earlier in 2012.

3.5/5

Track 3- C’mon

With a fun and light techno pop and pop rap sound, C’mon is a song that lyrically is similar to the previous track in terms of Ke$ha conveying this live for the moment ideology. Once again the verses find the singer in this flirtatious mode where she really wants this guy, with the chorus being a simple fluffy pop lyric where she tells this guy to just come along for a ride with her because she knows what she wants. The song is catchy with a fun quality that feels similar to the singer’s previous tune Your Love is my drug. The singer employs a fast paced rap style that gives the song this great vitality, with the chorus being simpler and so having a catchier tone. The crunch electro pop beat that acts as the songs base is feisty, whilst the harmonized male acapella vocals in the song are weird but intriguing. However whilst on the whole the song is fun to listen to, it has a familiar Ke$ha feel that suggests the singer doesn’t have much to offer musically, and so the song loses a bit of its vibrancy.

3/5

Track 4- Thinking of You

Bringing slightly more of the rock energy that the singer said would be on this album, Thinking of You finds the singer in a feisty and slightly aggressive state of mind where she brushes this former boyfriend of who was a bit of a cheat, but in the chorus she sings of hearing there song and seemingly thinking of him in an absent minded way, whilst telling this guy of how she has moved on with worldwide musical success. Although the expletives feel a bit unnecessary in this song the lyrical content is good, with an aggressive but catchy quality. The singer’s vocal performance could be a bit more powerful to give the song some real bite, but she does seem to really throw herself emotionally into the track and brings out her inner rock chick that has always been a true part of her persona. Things are still kept true to her former sound with the electro pop beats but the use of the drums and guitars in the song give the track this forceful rock vibe that offers a bit of diversity to the record and captures your attention more.

3.5/5

Track 5- Crazy Kids

The third single released from the record has been criticised for its remixed single form which features rapper will.i.am and which many people felt was unnecessary. Whilst I don’t love but don’t hate the new will.i.am rap that replaces the originals second verse, the original version of the track was still really great and I am very happy that it has been chosen as a single, even if it is in a bit of a different form. The song follows a similar lyrical tone as her previous hit ‘We R Who We R’, as we find Ke$ha singing about not caring what other people songs and just going hard with the crazy kids (i.e. her friends, family and fans who have stuck by her). The verses feature a pop rap style where the singer gives us some silly rhymes but makes things sound fun and infectiously vibrant, whilst the verses also nicely contrast with the chorus which is acoustically guitar driven and finds the singer in both a sweet and melancholic state. The singer vocals are some of her best here, as the raps of the verses feel astute and infectious, whilst the vocals of the chorus are her most stripped back and powerful, with the bridges final note being a little processed but still very powerful. Production wise the track is also really powerful, with a dirty hip hop beat in the verses that feels forceful and attention grabbing and being nicely contrasted and complimented by the simple guitar rhythms of the chorus. Some people may say this is typical Ke$ha, but I think this song is really attention grabbing and has this compelling quality that makes it a standout song.

4/5

Track 6- Wherever You Are

We enter more emotional and mid tempo territory with this electro pop tune that finds the singer in wistful but ultimately happy state of mind. The lyrics of the song find the singer describing the first night she met this wonderful person, with the chorus simply showing a sweet side of the singer as she tells this person that even though the relationship is she will always be in love with him wherever he is in the world. The songs lyrical sweetness is a welcome change of pace for the singer, with the statement of ‘wherever you are, love will never die’ being loaded with emotion. The song is a bit hit and misses vocally. Whilst at times the singer gives us a light vocal performance that feels heartfelt, at other times the vocals are marred by the use of Auto Tune and the some rap style vocals, with the stuttering quality of the chorus just be annoying rather than catchy. However the bridge does feel powerful and so she ends the song in a strong way. The production is also something that you can like sometimes but find unappealing on other occasions. The way the track builds in sound is strong and the twinkling melodies elevate the songs level of sweetness, but at other times the songs stomping electro pop rhythms and heavy sound is just too much. A nice song but not without its problems.

3/5

Track 7- Dirty Love (featuring Iggy Pop)

Featuring punk rock star and The Stooges frontman Iggy Pop, Dirty Love is the most rock orientated song on the record and is a song that will probably divide opinion in terms of the song being very different from her usual sound. The song’s lyrics are strongly in contrast to the previous song as here all Ke$ha wants his some sex, and she apparently like things dirty. The song still has a bit of a pop sheen but feels strong in terms of the rock sensibilities and is catchy with the ‘oh woah’ hook and the aggressive vocal performance for the song that blends the lyrics and overall sound of the track very nicely. Iggy Pop adds some rock credentials to the track and blends nicely in terms of harmonisation with the singer, but his sections are just weird and don’t necessarily add a whole lot to the song. The background vocals give the song this strong sound that makes it seem like it will be a great live moment for the singer, and with the gritty guitar rhythms and clattering drum beats, this is a feisty, rock driven number that is a nice change for the singer and feels true to who she is as an artist.

3.5/5

Track 8- Wonderland

Things are slowed down to a much more chilled and slightly retrospective state. The song shows another different musical style for the singer as she gives us a country rock driven track that feels chilled but imbued with emotion. Lyrically the track focuses on Ke$ha’s past with her broke friends, a time when she and her friends just chased their dreams, but now she can’t seem to get back to that state which she sees as this wonderland. The song isn’t an angry song about her hating of success and fame but is simply an heartfelt piece where she celebrates her past life and her friends. The track is really great in terms of the lack of Auto Tune, showing a delicacy and lovely tone from the singing and really showing that she can indeed sing. The simple drum beats and guitar riffs just create this light country rock sound that elevates the wistful energy of the song, and so this is a nice track to add a moment of peace and balance out the party atmosphere of the record.

Track 9- Only Wanna Dance With You

Reportedly meant to be a parody of music by The Strokes, Only Wanna Dance With You brings things back to a more up tempo groove (the clue is in the title). Still having more of a rock vibe than some of her work but bringing in the electronic qualities that she is known for, the tracks production features a funky guitar groove and punchy drum beats that give the song a bouncy rhythm that is quite infectious. The singer gives us a slightly feisty vocal performance where she really belts out the chorus and shows this guy that she means business, with the male vocals in the chorus being a cool twist in the track that adds this almost flirtatious edge to the song. Ke$ha simply sings of just going about her business and suddenly falling in love, to the point where this guy is the only one she wants to dance with. The chorus is simple and catchy, and as a whole this is just a silly pop rock number that you can just dance around in your bedroom to.

3.5/5

Track 10- Supernatural

Reportedly inspired by a sexual experience that Ke$ha had with a ghost, Supernatural is an up tempo, high octane dance and electro pop tune that also infuses some elements of dubstep into the singers usual sound. The song finds the singer in another feisty and flirtatious mood where she is in this state of wanting to go wild, whilst this mood is balanced by the steadiness and heartfelt quality of the chorus which focuses on the idea of this love being so powerful it is supernatural. The contrast of the fast paced verses and the almost could be a ballad chorus is really powerful and makes the song really catchy, whilst the singer exudes confidence vocally in terms of the rap sections. However the chorus is hindered a little by the use of Auto Tune that makes the song feel like it loses some of its emotion. The dance pop beats are really vibrant and infectious, with an intense quality that captures the listener. The use of dupstep in the middle section also is really powerful and commanding, whilst this is balanced afterwards by a simple vocal performance of the chorus which then builds to this stomping final chorus, and then delicate ends with just the piano.

4/5

Track 11- All That Matters (The Beautiful Life)

After the power of the previous track this song feels like a bit of a lacklustre effort that tries to get the party started/ keep the party going, but ultimately doesn’t do its job. The first of only two tracks not produced by producer Dr Luke, the song finds the singer singing about how she just wants to let go and get high because as the repetitive chorus states, the beautiful life is all that matters. The reckless fun of the track is nice but the lyrics come across as contrived and standard Ke$ha material, with the idea of a beautiful life being something she already focused on in a song from her last E.P. Cannibal. The vocals are nice in terms of the lack of annoying Auto Tune and some nice vocal layering, but that is not to say the Auto Tune completely goes, and at the end of the day it feels like a fun vocal performance that Ke$ha can easily produce. The way the song has this simmering energy in the verses and then goes more powerful in the chorus is a nice pace for the track, but the clattering electro pop beats and fast paced rhythm isn’t original. And when she tells you to put your phones up and light them up, it’s like she is putting her own nail in her musical coffin.

2/5

Track 12- Love Into the Light

Ending the album is a song that Ke$ha wrote completely by herself and which is produced by Greg Kurstin. The song is a ballad that finds the singer in her most vulnerable state, as she lyrically talks of simply being a person who has made mistakes and isn’t perfect, but at the end of the day we should accept peoples differences and get rid of the hate. The lyrics have a deeper and almost poetic quality that makes the inspirational tone of the songs feel more powerful, whilst the toning down of the singer’s party persona makes the song stand out more. Vocally the song shows off her tone well but is annoyingly hindered by the use of Auto Tune, which seems designed to just show how she isn’t the strongest vocalist in the world, even if she can sing. The intensity of the production with the steady electro rhythms reminds me of Phil Collin’s ‘In the Air Tonight’, and is a strong sound that becomes grand with the use of drums in the chorus and which really has this nice building energy, although at times the sound does feel like it is a bit too strong. A nice way to end the record that ends this album on a purer note, with the way the song fades out in this rock way being intriguing ad allowing for the listener to kind of have this moment of reflection.

3.5/5

Final Review

In listening to this record I kind of can’t understand why the singer is having such a downward spiral in terms of success. The album is not the revolutionary new sound that the singer promised and is a little familiar in terms of her last record, but she does push her sound in various ways with different tracks, and the whole album has this infectious vibrancy that is just fun to listen to. There are definitely some great tracks on the record, and although the singer needs to sort out some issues like the Auto Tune button and typical production and lyrics, this album is still on the same level as he previous album and should at least produce one or two more top ten hits and should reach gold status in America.

7/10

Best Track- Crazy Kids

Worst Track- All That Matters (The Beautiful Life)

Robyn- Body Talk Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Body Talk

Artist- Robyn

Swedish recording artist Robyn has been one of the reigning queens of pop to come out of Sweden through her recognisable soprano vocal and addictive sound. She has also created some really great hits and has been someone who has really shown artistic growth, most notably with the 2007 release “With Every Heartbeat”. This album allows us to enter into Robyn’s creative process in a unique way through how she released to E.P’s before this album, Body Talk 1 and 2, with songs from those both appearing and not appearing on the record. We are shown how she picks the songs in a way, and are also given a slow build to the album. However, when all that is pushed to one side, is this really a solid pop album, or is it a sign that she really should rethink her creative process a bit?

Track 1- Fembot

When a tracks title powerfully incorporates the idea of being a robot, it seems only right that the tone of the track, both in terms of vocal and production, really has that robotic feel, even if the song is all about having feelings. The track features Robyn employing her signature rap vocal style as she uses a range of double entendres in the verses before simply declaring in the chorus that woman have feelings too, as she has had her heart broken. It’s a simple and strong song, although the sexually driven end does make for a little bit of an uncomfortable listen. The singers voice is powerfully distorted within the track to bring together the lyrical sensibilities, but she still somehow manages to bring a feisty edge to the number, perhaps in the speediness of her rap style. The track has a kind of RnB tone to it, but is very much electronically driven, with production having a nice simplicity in terms of its two beat synth tones and a squelching electronic base in the production that all comes together to make a chilled, mid tempo number that still opens the record in strong way.

3.5/5

Track 2- Don’t Fucking Tell Me What to Do

When I read the title of this track I thought, ah, she’s to go into an even feistier mode than the previous track and put people in their place, making for an awesome song. But sadly Robyn doesn’t deliver here. The lyrics of the track are pretty much focused upon Robyn telling us about all the thing that are metaphorically killing her, and then after a while proceeding to tell us and presumably the world to not tell her what to do, using an expletive to really get her point across. It could have been a really strong concept for a song, but the delivery is just very poor, with Robyn coming across as a just a girl who won’t stop complain and seemingly knows everything, with the list like nature of the lyrics just feeling so bland. The vocals also could have helped the track, but instead Robyn just employs a quite monotone sing/speak style that has no personality, And the only kind of good thing about the track is the sort of snappy production with its strong bass and simple but clattering electro tones, yet this too is quite simple, and so is not enough to save the track from coming across as boring, even if it gives a little insight into the artist.

2/5

Track 3- Dancing On My Own

From the blandness of the previous track we enter into much better material with this track, the first single of the Body Talk era and arguably one of the best songs that Robyn has produced as an artist. The lyrical content of the track clearly designates the track as a heartbreak anthem, in which Robyn puts on the role of a woman dancing alone in a club whilst seeing her ex-lover with another woman, and offering us this sense of there being no hope.  Yet there is still that sense of empowerment in terms of the emotional intensity of the track, and the way that it has that slither of potential to simply reflect upon the idea of loneliness rather than the idea of love. Robyn definitely brings her A Game in terms of the vocal performance, which is full to the brim with passion and sound both silky smooth and fragile at the same time, with the vocal layering really making for a catchy tune. Production wise the song is created as a powerful electronic ballad with its misty disco tones and shimmering synths that sound like a kaleidoscope of heartache, and the production really works in tapping into the tracks sentiment and just creating something that we can really enjoy.

5/5

Track 4- Indestructible

A prominent ballad tone continues with this track, but unlike the previous number we enter into a more up tempo and optimistic tone. Lyrically the track is focused upon the idea of love, with Robyn this time playing the role of a girl who has made some bad moves in life but has found this guy and has these powerful feelings for him, with the chorus proposing the idea that she is too forget the past and just love this man in such a way that she could never be hurt again (hence the title Indestructible). It’s quite a sweet message that is centred around a strong pop chorus, and once again Robyn is one fine form vocally, with her light tone giving a touch of sincerity to the track. The bubbly production with its heavily synthesised beats and pulsating rhythm alongside some potent strings is cool and just gives a chilled edge to the song that makes for a comfortable listen, even if we are kind of missing that emotional punch that we need for a great song.

3.5/5

Track 5- Time Machine

Robyn goes a bit nostalgic for this track in terms of musical collaborations, as the track is helmed by Swedish pop producer Max Martin, a leader in the musical charts for today’s pop music and the man responsible for some of the early hits of Robyn’s career. The song has a powerful edge in terms of the vocal performance and the production, but this kind of works in both two really cool ways in kind of masking but ultimately making the lyrical content of the track that little bit more powerful. Here we find Robyn singing about the end of this relationship where she thought she would be on top but now she is really hurt over this end and just wishes to take back all that happened and go back, asking for a time machine to do so. It’s a strong statement that is given power through the simple and catchy tone of the chorus and the way that the message is something that many people can easily identify with. The power that exists with Robyn’s voice really comes out strongly in this track, particularly in terms of the way that the chorus builds to that really nice falsetto moment of fragility, as well as the nice ad libs in the final sections. Martin brings his strong pop edge to the production in terms of the steady, pulsating dance beat and the cool, electronic, synth based tones that create a let loose and dance heartbreaker song. The fast paced, disco beat rhythm of the middle section is also really strong and just gives a nice finish to the track.

3.5/5

Track 6- Love Kills

With such a title as “Love Kills”, you can’t expect anything but a continuation of the heartbreak theme that has kind of strengthened the first half of the record in terms of its catchiness. However the track is a nice change of pace in terms of how the lyrical quality of the track focuses on simple statements rather than a kind of storytelling lyrical element, putting Robyn in the role of a wise teacher in the game of love. Yet whilst the lyrical content is a nice change, its strong potential is really hindered by the way that the song is very much built upon lyrical repetition, and so you can quickly become annoyed by Robyn trying to teach us. The track is strong vocally as the layered tones give an innate strength to the track, although the song feels a little too steely in terms of the depth of the vocal and so it is not quite as catchy as some of the other tunes. The production is probably the best part of this track; with the pulsating beats have a real hard edged quality that perfectly intertwines with the ideology of the song, although like the lyrics it can become bland after a while.

2.5/5

Track 7- Hang With Me

Originally recorded by Swedish singer Paola Bruna in 2002, producer and writer Klas Ahlund added a chorus and made it more up tempo to give to Robyn and include on her Body Talk album. A more hopeful quality can be exhibited alongside the fragility in terms of the lyrics of this track, as Robyn puts on another musical role, this time of a girl who is falling in love but is a little scared, and learns to trust in the relationship. The song is quite straightforward in its sentiment, and with her light tone Robyn really brings that sense of truth to the track that makes for a catchy tune.  The electro pop production is another radio friendly sound that brings this strong emotional edge to a club ready level with its relentless beats and light synth energy, which is nice and makes for a sweet  if fragile tune to just kind of dance around too.

3.5/5

Track 8- Call Your Girlfriend

Nominated for a Grammy Award in 2011, this tune is another electro pop ballad that finds the singer in a state of emotion that is quite intense sounding and can really speak to us. However, the lyrical pace of the track is a nice change in terms of the kind of fast paced energy of the verses against the simplicity of the chorus, and it’s also a nice change in how Robyn isn’t the heartbroken girl, but rather she sings about being in a state of happiness within  this new relationship that is going so great, but worries that her partner’s ex may be very hurt, and so asks him to call her and end that relationship, giving him tips on how to handle the situation. It’s another example of how Robyn is an artist that is very in touch with very real, human emotions that so many people go through, and this really makes for excellent pop tunes that are commercial in sound but universal and powerful in sentiment. Vocals on this track are superb, with Robyn really giving both strength and fragility to the track and also giving a graceful quality to her performance. The buzzing rhythm and powerful synths of the production make for a nice sound that you can slowly dance around to , with the chord changes giving us a satisfying tone.

4/5

Track 9- None of Dem (featuring Royskopp)

One of the few tracks that has no input by Ahlund, this song is, according to the notes of the album, completely composed by Robyn herself in terms of the song’s lyrics, whilst featured artist Royskopp acts as a feature in terms of his role as a producer. The tracks lyrical message is a nice change from the other tracks as we find Robyn not focused on love but instead on this sense of being stifled in this place that she finds herself, and wishing to go somewhere that she can have this sense of freedom. The chorus has a potent simplicity and is memorable, but the verses suffer in terms of the lyrical simplicity and the repetition that becomes annoying. Vocally this is also one of the weaker moments for Robyn as she doesn’t provide the song with enough personality and gives a performance that feels like it is based too much on one level and just doesn’t excite you in the way that it should. Royskopp provides production that is both a cool change in terms of it’s arguably deeper and darker tone, but which doesn’t sound as catchy. The synth based, electro pop elements of the previous songs are all there, but they just seem more subdued here, and the track suffers in terms of the way that the sound is just dragged out for too long.

3/5

Track 10- We Dance to the Beat

With the title of this track I expected an up tempo affair that would get you moving and would be exciting. However, instead we are given a mid tempo offering that finds Robyn’s vocals highly distorted and a message that is seemingly more powerful than the title would suggest. The track is definitely another example of how Robyn’s music really suffers in terms of the repetition, as the continual singing/speaking of the title very quickly becomes annoying, with  Robyn simply going on about how we dance to beat with a variety of reasons. The heavy production of her vocals gives a robotic tone that isn’t appealing, with the only thing that is appealing being the kind of 90’s hip hop vibe of the “we dance to the beat” motif. The electronic production with the thumping beat is simple but also not strong or appealing, and so this is definitely a track to skip.

1.5/5

Track 11- U Should Know Better (featuring Snoop Dogg)

Putting Robyn together with rapper Snoop Dogg doesn’t seem like the most obvious music collaboration on paper. But the track actually does sound pretty good, as both artists have a cool vocal chemistry and powerful personas that really come out in the track, which keeps with the electro pop vibe but has an RnB tone. The track is all about how these artists are worldwide, awesome people who you should not mess with, and the chorus just centres on the two artists singing/speaking about how you should know better than mess with them. The message is strong in the verses, with Dogg being the best of the artists has he has some credential swag, but the chorus just comes across as over repetitive and annoying, with the distortion of Robyn’s vocals being very unnecessary. The whole track also has that over repetitive quality as we get to the bridge, and although the electro sound keeps a cool steady rhythm and the dramatic, short string moment at the end is nice, it’s not production that feels assured or catchy, and so you can easily lose interest.

2.5/5

Track 12- Dancehall Queen

When a song has dancehall in the title, it only makes sense that the sound of the track should have a dancehall element, and so this is the case with this track. However the song also incorporates a reggae groove and a little bit of 90’s Euro dub. The sound feels very old school but at the same time feels modern and fresh, and so the bubbly club atmosphere really captures you and makes for a nice listen. Vocally Robyn keeps things very simple and gives a light in tone performance that is catchy and really listenable. And although the lyrical content is a little repetitive, the chorus with its catchy exclamation of Robyn being this dancehall queen is very good, and we can totally believe that she does indeed want no hassle.

3.5/5

Track 13- Get Myself Together

This track is definitely one of the most pop driven and straightforward sounding of the collection as Robyn plays the role of a girl who everyone around her seems to see through this façade she has put up, with the chorus focusing on how she has to put herself back together once she can realise what is wrong and the hurt can stop. It’s a simple concept that is made much more catchy by the simplicity of the track, and vocally it’s another light tone that is very appealing, with the vocal layering giving a smooth essence to the track, and the key change in the chorus makes for a memorable quality to the track. Producers Aklund and Billboard produce a great sound with the thumping electro rhythm of the bass and the clattering disco infused beats that just sound light, and make the song almost sound like it would work well in the strong independent woman section of a cheesy romcom.

3.5/5

Track 14- In My Eyes

The penultimate track has a little bit more of a darker edge in terms of the hard and harsh quality of the production with the stomping bass and the kind of clunky electro rhythms. Yet whilst the track has this almost perhaps rough sound, the lyrical content of the track finds Robyn in quite a hopeful state of being, as she tells her lover that although he may feel that everything is lost, he will be alright if he focuses on Robyn’s eyes everything will just be alright. Robyn is once again vocally strong, keeping things much more simple, and so we are brought to what will hopefully amount to a good finish in the record

3.5/5

Track 15- Stars 4-Ever

Optimism is seemingly the note that Robyn seems to really want to end the record on, which nicely contrast with the opening of the album and it’s hard faced quality. The lyrical concept of this track may not be the most original, and within the verses there are a few clichés performed, but the hook of the track has a really sweet and catchy quality that allows for the stereotypical energy to be ignored. Robyn really brings a light tone to her work that gives the song a pure and sincere quality, whilst the clattering electronic rhythm of the track conjures up that kind of firework imagery that shows how the track is really entwined in terms of each component. A nice end to the record.

3.5/5

Final Review

If the whole era of Body Talk shows one thing about Robyn, it is that she is an artist who has a lot of creativity and really does kind of think about what she puts out there in the music world. This a strong collection of electro pop tunes that can really cut you emotionally, with some tracks being real musical gems. The consistency slips a little as we begin to end the record, and some tracks a marred by lyrical repetition and poor vocals quality that is over processed. But Robyn pulls it back to a good quality, and by the end we are really championing her electro pop sound.

7/10

Best Track- Dancing On My Own

Worst Track- We Dance to the Beat

JLS- JLS Album Review

 

 

 

 

 

 

 

 

 

Album- JLS

Artist- JLS

JLS (a.k.a. Jack the Lad Swing) were the runners up of the 2008 series of the UK Factor. Signed to Epic Records after the show, the group quickly became the most successful boy band to emerge from the talent show, and to date have had five number on singles, a further top ten singles, and four top 3 albums in the UK music charts. However, this year the band have announced a split after the release of a greatest hits record and a farewell tour. But why did the UK love them so much to begin with? And is this really the time for them to be splitting up? I take a look at their self-titled debut album to try and answer those questions.

Track 1- Beat Again

Reportedly written especially for the group by Wayne Hector and Steve Mac, Beat Again was the lead single and debut song for the group. An RnB and dance pop track, the song lyrically focuses on the metaphorical idea of being heartbroken in love to the point where the doctor is telling you you will die, with the guys asking this girl to give the relationship another chance so that their hearts will beat again. The lyrics are catchy in the chorus but come across for the most part as clichéd stuff designed for a romantic comedy. However the song is saved by the smoothness of the quartet’s vocal harmonies and charismatic tones, although the bridge is a little bit annoyingly Auto Tuned. The production has strong electro beats with a snappy quality that is appealing, although the final chorus needs more of kick to it to make this song really have a lasting impression on you.

3.5/5

Track 2- Everybody In Love

Initially intended to be the lead single at one point, Everybody In Love is the albums second single and a feel good pop and RnB tune. Opening with a rave horn, the song finds the guys singing about how they are in love with their respective girls despite the hard things that happen in the relationships, whilst the hook of the song asks anyone in love to just put their hands up. The song is once again lyrically quite cheesy and clichéd, but the boys have a charismatic smoothness about their vocals that lessens the songs cheesiness a bit and makes this more of a light and universal pop song. The production keeps in line with the previous song in terms of the snappy electro beats, but through the use of synths the track has a lighter feel that makes it a nice if simple summer tune.

3.5/5

Track 3- Keep You

Co-written by British singer songwriter and worldwide star at the time Taio Cruz, Keep You is another track where we find the guys in a loved up state where they are lyrically telling this girl that they are better than this guy she is worth, and promise to keep this girl and be there for her forever. The lyrics have a catchy simplicity that makes the chorus feel nice and particularly sincere, whilst the electro and synth pop quality of the production is cool, giving us a light sound that simply elevates the lyrical content, although a powerful bridge section would have made the last minute of the song impactful. However whilst the production and lyrics are better than the previous offerings, this time things suffer a bit vocally, as the group has nice harmonies as usual, but the voices are a bit too Auto Tuned, and so the track loses some sense of personality and charisma that makes us really believe the guys.

3.5/.5

Track 4- Crazy for You

There is slightly more of an emotional intensity to this track and things aren’t as stereotypical lyrically, which is a nice change. The song finds the group singing of a bad night that was had with this girl where they were both angry with each other, but the chorus focuses upon how this intense emotional connection is simply because that is how much this girl is loved. The song has a nice honesty to it and features a cool use of a higher range in the chorus which makes things more powerful. The bridge here is also stronger through the powerful vocals of member Aston Merrygold, although sometimes the vocals are marred by the unnecessary use of Auto Tune. The track features a more organic sound which is a nice change, with a potent utilizing of strings and a piano melody. However whilst this track does feel like it offers diversity to the record, things could be a bit more impactful, and something about this song to me feels like a typical boy band track that could have been sung a few years ago.

3/5  

Track 5- Heal This Heartbreak

Things are kept on a more emotional level with this track that has an even greater sense of intensity than the previous track. What is cool about this song is that initially you are lulled into thinking this is a simple down tempo song that is a heartbreak track, but whilst the lyrics definitely have that sense of pain from love, the track dips between a more acoustic based sound before going into more of dance pop territory in the chorus. The track simply finds the boys singing about this girl who has broken things off, and they can’t understand why things had to end and don’t know how to get over the relationship. The lyrics are a bit bland in the chorus but otherwise are good, and the vocals are a little too Auto Tuned in places but on the whole good, with each member really bringing something to the song. In particular Merrygold produces a strong vocal in the last sections of the track, as his ad libs give the song this true level of emotional vulnerability. This song is also strong in the way that it deeps between styles of sound, and so whilst it still doesn’t feel original, it has more of an interesting quality than the previous song.

3.5/5

Track 6- Close to You  

By this point in the record things are to loved up and down tempo for you to believe that this record is not simply catered for the groups primary fan base of teenage girls. The song is another loved based song, but the heartbreak of the last track has gone as they are basically so in love this girl that nothing that they see or do compares to her, and they just want to be with her. The lyrics feel entirely like they were catered for teenage girls to believe the song is about them, whilst the group brings us a vocal performance that is smooth and well harmonized but lacks true heart. The production also simply blends a guitar melody with some electronic based sounds to give us a stereotypical boy band slow jam, and so with this song comes the question of why were they so loved on the X Factor?

2.5/5

Track 7- Only Tonight

This song feels like one of the most vulnerable tracks on the record and has a more of a powerful quality within the chorus that makes the track a standout. The song finds the guys telling this girl that they think they are making a mistake in ending the relationship, but will really cherish them if they only have this one last night and things can’t be changed. The simplicity and pleading quality of the track makes the lyrics feel more potent, and the vocal performance is one of the best in that it has a real smooth tone but also shows off a bit more power of their voices, with Aston once again providing some great ad libs to make things more powerful in the songs final minute. The steady pop and RnB rhythms of the production with that heavy and steady beat is really good and makes the song that more intense, and so whilst this track is annoying in keeping with the slowness of the record and making the whole album feel a little lackluster, it does have a greater sense of leaving an impression on the listener than the last few songs.

3.5/5

Track 8- One Shot

The records third single, One Shot is another song that feels like typical boy band territory with a sound that is designed to be commercial, but at least the song is better in upping the tempo slightly to make things less boring. The song finds the group singing about how this girl has come and kind of is the girl of their dreams, with the chorus focusing on how this girl needs their feelings to be expressed, because you only get one shot. The loved up and only getting one shot message is okay but nothing that hasn’t been heard before from boy bands, although I do like the chorus cause if you isolate it from the rest of the track it has more of a universal, just go for things in life message. Things are better here vocally as the Auto Tune button isn’t annoyingly put into use and the vocal performance feels light and well harmonized for an appealing sentiment of love, and although unoriginal the production is nice with the blend of synths that gives the song a nice base for the vocal performance.

3.5/5

Track 9- Private

Now things finally get a bit more interesting with the sound of this track having more of an RnB twist with a little bit of a rock flavoring. The song is also less annoyingly lyrically because instead of once again saying to a girl how much they love her, here the guys are actually singing about how they think this girl and the relationship should just be kept private, a message that feels more potent if you place it in their media heavy pop star world. The stabs of electro beats and hand clapping base of the song is cool and more of vibrant sounds the makes things interesting, and so as far as the albums producers go, Metrophonic seem to be the best. However it seems with any JLS track there can’t be some form of issue, and with this song the issue is the vocals, which are just Auto Tuned and annoying.

3/5

Track 10- Don’t Go

Another track where the production has more of a powerful sound that keeps you interested, this song is features a cool blend of snappy snyth’s and cool tenchno rhythms with flourishes off some old school sounding moments. However, whilst production wise the song is good, the rest of the tracks components are very poor. The song basically finds the guys telling this girl not to go because they don’t believe that this relationship is going. This lyrical content is very bland, and is made even worse by the fact we have already had this kind of emotion from the group in the previous tracks, and so this song loses all it’s essence fo originality. And the vocal performance seems to establish further that this song is unoriginal, as the group just comes across as four guys singing a song rather than a band emotionally invested in what they are singing about.

2/5

Track 11- Only Making love

Snappy production with a nice blend of electro dance beats with a slight RnB groove is the best thing about this track, but even at this point the more interesting production of this and the couple of previous tracks starts to feel bland and too familiar. And once again the lyrical content and vocals do nothing to help the songs ability to make an impression on the listener. Lyrically the track is simply about how the guys will be fine after things with this girl have ended and they have just found that she was playing a game, where it seems like sex was simply the role of the relationship. This could have been a much feister and stronger song lyrically but instead it just feels like it slips to easily into heartbroken boy band territory, and once again the vocals are ruined by the use of Auto Tune, with the way the chorus rises and falls in the vocals just sounding very annoying.

1.5/5

Track 12- Kickstart

With an electronic based production that feels slightly 80’s influenced, this song has a powerful sound in the production that brings interest from the listener back to the record. The track is also better lyrically in the way that for once the band actually stand firm and aren’t soppy so in love or so much in heartbreak boys. Rather here they are sick of the drama that this girls seems to always starts, and basically tell her to leave things and them alone. The defiant quality of the track makes things much more appealing, and for once the smooth vocal tones of the boys are back without the annoying Auto Tune. The final 20 seconds of the track is also really powerful with the infusion of an electric guitar in the production, and so finally we get some music that feels slightly more original and exciting, and also in a weird way uplifting.

3.5/5   

Track 13- Tightrope

JLS album is a record that hasn’t been one to shy away from the clichés, and so ending the record on simple ballad with a more acoustic sound is just yet another pastiche of the boy band package. Although the lyrics are more raw and interesting than some of the other songs, it is now a case of too little too late. Furthermore, the metaphor of the guys being unsure in love and this girl having them in state where it is like they are walking on a tightrope feels bland and stupid. The harmonization of the group is nice and vocally there is a chilled quality to the vocal that makes for a nice closing song, whilst the guitar melody and snappy tone of the production is simple, powerful and also kind of chilled. Yet at the end of the day this is another unoriginal pop offering.

2.5/5

Final Review

Their debut album may have sold an amazing 1.4 million copies in the UK since December 2012, but to me it seems like that was just people rushing onto the bandwagon of the latest musical craze, and most of the people who will have bought this record will be teenage girls who simply like guys with a bit of charisma, smooth singing voices and toned six packs. Each of these tracks is either just run of the mill boy band territory or has problems such as the annoying use of Auto Tune, unappealing lyrics or bland production. JLS seem like four nice lads, but in retrospect, if this was their debut, you can totally understand why they have now decided to split up only five years down the line of being in the eye of the public and mass music market.

4/10

Best Track- Only Tonight

Worst Track- Only Making Love

Ciara- Ciara Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Ciara

Artist- Ciara

American singer-songwriter Ciara has been a prominent star in the RnB and hip hop world, with such music hits as ‘Goodies’ and ‘1 2 Step’. However in the last few years the singer suffered commercial failures with her latter to albums, citing a lack of label support as the main issue. Ciara, her eponymously titled fifth studio album, serves as her first record for new label Epic Records after asking the now defunct label Jive Records to release her from her contract. And in this sense it is almost a musical rebirth of sorts. But is this really Ciara back on amazing form, or is this just a so so album?

Track 1- I’m Out (featuring Nicki Minaj)

Opening track ‘I’m Out’ serves as the records lead single and a feisty opening number that sees the singer teaming up with rapper Nicki Minaj, who she previous collaborated with on a song called ‘I’m Legit’. The track is lyrically based in the idea of break ups and making your ex regret the fact that they left the relationship, with the track very much being a ladies anthem. The song finds the two artists blending together well as Minaj provides us with an aggressive and gritty opening verse that is then complimented by the sweetness and smoothness of Ciara’s vocal performance that is still fierce in its own right. The production features a feisty hand clapping beat and energetic synths that give the track this simple but vibrant electro pop sound, and so this is a fun and feisty way to begin the record with.

3.5/5

Track 2- Sophomore

Keeping in line with the electro pop energy of the previous track but putting a little RnB flavour on things as well, Sophomore is a sensual mid tempo jam where Ciara puts on the role of educator. This is because lyrically the song focuses on Ciara telling her man to step up his game, and she is going to really teach him about sex education. The track is a little too lyrically repetitive but vocally the airy and light vocal tone of Ciara’s voice really brings out the sensuality of the track, although the way the vocals are layered in the chorus is more annoying than sensually appealing. The production has a strong electro bass line and clattering beats that really elevate the vocal and lyrical content in a good way, although like the other components the production is not without fault, as if things were perhaps a little more stripped back the sensuality of the lyrics really would have come through more.

3/5

Track 3- Body Party

Becoming Ciara’s first top 40 hit since 2009, Body Party is a down tempo RnB song that firmly continues with the sensuality of the previous track and finds the singer teaming up with current hit making producer Mike Will Made It. Featuring much more of an RnB groove than the previous tracks, we find Ciara singing about her body being a party for her romantic partner, a sensual an almost kind of sweet statement that perhaps makes this a good bedroom song. Vocally the singer works the song really well in terms of dipping and rising within her vocal range, with the use of her higher register in the chorus really bringing out the sensual energy of the track very powerfully. Mike Will Made It provides a nice and simple blend of slinky synths and smooth RnB beats to make this a really great RnB slow jam.

4/5

Track 4- Keep on Lookin

Having more of a forceful RnB vibe than the previous track, Keep on Lookin is very contrasting to the previous track as lyrically the song is based in the idea of how Ciara looks amazing, but the guys can only look and can never have her. The track is feisty lyrically but is let down by the lack of lyrical content, although the distorted male vocals do add some cool urban swag to the track. The singer gives us a simple vocal performance that is made fierce by the vocal layering but which feels like something she could sing a little too easily, whilst the production is unoriginal but cool in terms of the snappy RnB beats and the attention grabbing, slightly reggae influenced intro.

3/5

Track 5- Read My Lips

Bringing the record into more of a pop state, Read My Lips was produced by renowned music producer Rodney Jerkins and was co-written by current song writing talent Olivia Waithe. The tracks features a simple sing along chorus and finds the singer in another sensual frame of mind as she tells her man to read her lips because she knows what is good for him and is determined to take care of him and make him satisfied. The simplicity of the chorus makes the song very catchy, with Ciara giving us a light vocal performance that still retains that Rnb sensuality of the previous songs and so means that the track still fits on the record. Jerkins gives us a sound that is based in 80’s synth pop, with simple beats and snappy tones that make this a simple but fun and slightly feisty number.

3.5/5

Track 6- Where You Go (featuring Future)

Featuring Ciara’s current boyfriend Future and reportedly recorded by the singer after requesting her boyfriend to give it to her (despite the fact it was initially to appear on his second album), Where You Go is a light RnB track with a frenzied electro bass line and sweet tone that is another Mike Will Made It collaboration. The song finds both artists simply asking the question of ‘where you go?’ as the person seems to be holding back a little, and they should just though that there lover will really be there for them. The simplicity of the songs lyrical questioning is a nice mix of sweetness and fragility, and although the lyrical content is perhaps a little repetitive, the questiong feels so pure that you almost forget about the repetition. The two artists blend well together, giving the song this two fold narrative quality that makes this feel very much like a relationship tune. And Mike Will Made It does a great job in the production in terms of the simplicity of the sound, with the electric guitars and steady bass giving the song this slightly more organic feel that is powerful and makes this more of a musically rich album.

3.5/5

Track 7- Super Turnt Up (featuring Ciara)

It may be slightly confusing, but the fact that this track features Ciara does not mean that she has suddenly jumped on the craze of artists creating an alter ego. Rather this track is simply credited as featuring Ciara because we see a different side of her musically, due to the fact that in this song she raps. The song is a punchy RnB and electro pop number that is all about the singer feeling great as he man is on fine form and she just loves her baby. The lyrical content feels simple and luxurious, with the lyrics becoming more potent through the smoothness of Ciara’s vocals that truly convey this sense of her feeling really good. The rap section is cool in the way that it doesn’t feel like Ciara and so adds this cool level to the track, and it’s also good as it’s just a quite simple moment that shows she isn’t suddenly trying to change who she is as an artist. The song features sparky electro rhythms and an aggressive bass in the production for a sound that matches the lyrical content, and so in all aspects this track is structured well, sung well and just feels like the singer means what she is saying.

3.5/5

Track 8- DUI

DUI is more a dark, mid tempo RnB track that once again finds the singer in a sensual state. Using the idea of drinking under the influence, the song is lyrically based in how the singer can’t focus on driving because she is so intoxicated by the passion of her lover. The concept slightly lacks originality as it feels like to obvious a metaphor, but with the velvety smooth tone of her voice the singer brings out the sensual passion of the song and so we can sort of forgive the poor quality of the metaphor. The production features slinky piano and strings against this snappy but sensual RnB backbeat, and therefore sound is just simple but gives the song this dark, sensual energy, although the track does feel like it goes on a bit too long.

3/5

Track 9- Livin’ It Up (featuring Nicki Minaj)

Another Nicki Minaj collaboration, this track was co-written by singer songwriter Wynter Gordon (of ‘Dirty Talk’ and Flo Rida’s ‘Sugar’ fame), and is a feel good pop track that infuses some island rhythms into the music. Lyrically the track is a little bit of another ladies anthem but is more just a happy song about living life to the full and excepting the good things that come your way. The siger gives us slightly more of a deeper vocal performance that feels more commanding and shows a cooler side to her as an artist, whilst the ‘ola ola eh’ hook of the track is really catchy. The production of the song also nicely use some Euro pop dance beats and snappy rhythms for a fun and infectious sound, and so this is a good track. The only issue for me is that whilst on their previous track for this record the two artists compliment each other well, this time Minaj just feels like a rap feature for the sake of a rap feature, and doesn’t add enough to the track to make this a really great song.

3.5/5

Track 10- Overdose

Described as the most straightforward pop track the singer has recorded, Overdose is a light pop tune that ends the album on a nice note. Another love based song, the track focuses on the singer telling her man how much his love means to her, and how it his love is kind of like a drug. The song has simple and sweet quality that is elevated by the lightness of the singers vocal performance that is airy in tone and which makes the track feel like she is being honest to the listener. The sound of the track is a simple electro pop sound with a bouncy groove and vibrant synth notes that just sound light and fun, and so this is just a sweet way to end the track that also ends the record nicely in terms of showing a little bit of a different side to the singer.

3.5/5

Final Review

Ciara is an album worthy of its self-titled title, as the singer gives us a record that is full of fined tuned track that encompasses a range of genres and which feels like an artist who really understands herself and wants to create the best music that she can. The singer’s vocal performances are always on point, with Ciara using her vocal range to great effect, whilst the lyrical content creates this mix of sweetness and fierceness within the record. The guest features on the record are good choices, whilst each of the producers creates great sounds to the songs that are well structured and create a cohesive sound to the album. This is a great start to the singer’s time with Epic records and should see her return to more commercially successful times.

8/10

Best Track- Body Party

Worst Track- Keep on Lookin