Miley Cyrus- Bangerz Album Review

 

 

 

 

 

 

 

 

 

 

Album- Bangerz

Artist- Miley Cyrus

Ok, so whilst many will know her as the girl who found fame as Hannah Montana, Miley Cyrus has definitely shown in 2013 that she is not a little girl anymore. But aside from what you think of her antics, it is safe to say that Cyrus is a music force to be reckoned with, as the young star is currently enjoying some of the best sales of her career. But whilst she may be doing really good, does the music actually measure up?

Track 1- Adore You

When you look at the persona that has shrouded Cyrus this past year, it is weird to think that her album would open with a simple pop ballad that is all about love. But Bangerz opens with just that. Adore You finds Cyrus addressing a lover and telling him of her strong feelings towards him and how she needs him. The song is baced by simple beats and some nice piano melodies to create a simple pop sound. But whilst the lyrics are good and the production simple but also a bit dramatic, the best thing about this track is definitely the vocals, because here we have a Cyrus who really shows of her voice and shows the power in her voice, whilst also showing great control and creating a smooth tune that feels invested with emotion, and so whilst it may  not be the expected beginning of this record, it is a good, strong opening track nonetheless.

3.5/5

Track 2- We Can’t Stop

The track that started off the new stage in Cyrus’ music career, We Cant Stop is an uptmepo pop song with RnB and dance elements, and is a song that shows off the partying side of Cyrus’ persona. Here she sings of not being able to stop and just living life and partying, with the use of we perhaps placing her as a voice for her generation. The message is a bit clichéd and silly in places but the vibrancy that foregrounds the song makes it an infectious track, and what is cool to listen to is the fact that Cyrus still has this quite soft, Disney suited voice, and yet within this dance and RnB context she still sounds comfortable and accessible. Producer Mike Will Made It (who is now a prominent part of Cyrus’ music career) gives us some stomping bass and light synths for a good party sound, although for me the auto tuned vocal moments from him are just weird and annoying.

3.5/5

Track 3- SMS (Bangerz) (featuring Britney Spears)

Featuring one of Cyrus musical idols Britney Spears, SMS (Bangerz) is another pop song that this which contains elements of hip hop. The song is very much a love or hate song, where we find Cyrus and Spears both singing/rapping of not giving guys second chances and just ‘strutting their stuff’. The song is catchy in a way but the continual repetition of Bangerz and strutting that stuff does get annoying after a while. The rapping is also something that you will either like or just beg to be stopped, whilst the snappy beats of the production isn’t all that interesting but will keep things ticking along.

2.5/5

Track 4- 4x4 (featuring Nelly)

4X4 is another kind of a weird song where we find the singer sort of rapping, although she does do more singing. The song is more narratively structured lyrically as Cyrus plays the role of a female ‘rebel’ who is out to get bail for her lover. The message and story is just weird and annoying as it doesn’t feel like we are really hearing the true Cyrus, but the chorus is annoyingly catchy in its own way. Cyrus is vocally stronger in this song than the last track, with her playful side being nicely shown in the second verse of the song. However the problem with the track is that guest artist Nelly definitely steals the show with a guest turn, something he shouldn’t be able to do on another artist’s record. And whilst the country music elements of the production are cool and add something different to the record, after a while the sound is just once again something to keep the song ticking along.

2.5/5

Track 5- My Darlin (featuring Future)

From the country music stylings of 4x4 we transition into pop RnB ballad that takes things down to a softer and more emotionally powerful place. The song utilises a sample of the song ‘Stand By Me’ to find both Future and Cyrus singing (potentially to each other) of how they want their lover to stand by them. The song vocally shows off Cyrus’ voice to strong effect, but Future just feels like surplus baggage hear, with his auto tune heavy vocals coming off as whiny against Cyrus smooth tones. The lyrics are also sloppy, with the use of the Stand By Me sample being interesting as the songs chorus but ultimately falling flat due to the poor state of the verses which feel very cobbled together. The production is also sloppy, with the clattering synths giving us a frenzied song that just doesn’t have a clear direction for either the artist or the listener to follow.

2/5

Track6- Wrecking Ball

For many people this song will just remind them of Cyrus licking a sledgehammer and writhing around naked on an actual wrecking ball. But that is a real shame, because the song is actually really good, and probably some of Cyrus’ best work (and maybe the best). The song finds Cyrus comparing her love to hitting something with a wrecking ball and emphasising that she was encapsulated in this relationship that has now turned really sour. The song is lyrically powerful and is further intensified by a stellar vocal performance by Cyrus, who nicely plays it softly and very vulnerably in the verses before belting out the chorus to show not only the full extent of her voice but the full extent of her anguish. Pop maestro Dr Luke works his magic on the song in terms of the production, giving us a lush bed of synths and some powerful bass to make the track even more engaging, giving us a track that is potentially the ballad of 2013.

4.5/5

Track 7- Love Money Party (featuring Big Sean)

After the intensity of Wrecking Ball, Cyrus takes a step back to her partying persona with this party track. Lyrically the track is very much summed up with the title, and with this track the singer also flexes her rap muscles once again. The rapping is better than her other offerings but it still sounds a bit stupid when you know she isn’t a half bad singer. The haunting, grimy house beat that acts as the vital piece to the tracks sound is good and makes for a slick dance vibe to the track, whilst Big Sean provides a simple but effective rap feature. This song shouldn’t work in the way that it does, but it could have been a much worse offering.

3/5

Track 8- #GETITRIGHT

#GETITRIGHT finds Cyrus in a flirtatious and sexual state of mind as she sings about having this feeling coming over her and wanting to get things right with her man, particularly in bed. The lyrics are ok with a solid chorus, but the song is definitely elevated by Cyrus’ vocal delivery, with her smooth tone and infectious personality making the song that touch more believable. Current man of the moment Pharrell Williams provides producer duties for the track and creates a slick, funky sound that centres around a chopped guitar lick and some killer whistling that adds to the songs catchy feel. The track definitely sounds like a typical Williams song and for some people this may be a problem, but Cyrus still sounds comfortable and like she is having fun, which just makes for a good listen.

3.5/5

Track 9- Drive

Cyrus goes back to the emotional intensity of Wrecking Ball with Drive, another pop ballad that has a little bit more of a bite due to the dubstep elements of the song. Lyrically the track focuses on Cyrus’ telling us of all this guy has done wrong and having her heartbroken, but also being in a state where she is not fully able to leave the relationship. The track is lyrically more potent than some of the tracks on the record and definitely feels like we are hearing a song by Cyrus that comes from the heart. Equally she invests as much emotion in the vocals as she does the lyrics, giving us intense anguish and vulnerability that resonates with the listener and which definitely seems to be her strong suit. And with the wobbly dubstep rhythms of the production and the haunting essence of the tracks sound, producer Mike Will Made It definitely makes the song a complete package worth a listen.

4/5

Track 10- FU (featuring French Montana)

With the melodramatic, ‘oh you broke my heart’ opening of this track, you know this is a powerful break up number that sees Cyrus stay in the relationship anguish lane of her music. The song finds Cyrus singing about how this boy has treat her wrong and now she just wants to show him her middle finger and show that she is the stronger one. The song is lyrically potent and although the lyrics could be a bit more refined, the sentiment behind the song is enough to make this a good listen to the listener. Vocals on this track are powerful but also could be a little more refined at times, as in places the yelling style Cyrus employs is just a bit grating. However the production of the track is great, with perfectly inlaid dubstep beats, which makes up for pointless featuring of French Montana.

3.5/5

Track 11- Do My Thang

One thing about Miley Cyrus is that she seemingly doesn’t care what other people think of her, which is good for her, and this is something she shows with Do My Thang. The track is a great dance number that is all about Cyrus telling us that she is just going to live life and she will be ok just doing her own thing. The message is simple but strong and is nicely built around a catchy chorus, whilst vocally the track is good in that Cyrus playfully raps/sings in the verses and  builds up her vocal in the chorus without sounding too unrestrained and maintaining some good control. The production value of the song is also great, with synthesisers and snappy percussion giving the track a great dance rhythm, whilst the monk style ‘oh oh oh oh ee oh oh’ post chorus male vocals are a funny but equally catchy element to the track.

3.5/5

Track 12- Maybe You’re Right

Another powerful ballad, Maybe You’re Right focuses on Cyrus replaying this relationship in her head and coming to the conclusion that the fact her ex sees her as a bit crazy and foolish for him might just be right. The lyrics are confessional and emotional, whilst Cyrus once again shows her vocal chops and makes the emotion of the track feel that much more tangible and sincere. The tracks sound is equally as powerful and catchy, featuring some stellar drum instrumentation add little flourishes of gospel to show us that Cyrus’ is just superb when she really lets go.

3.5/5

Track 13- Someone Else

Final track Someone Else combines hip hop and synthpop for a stomping finish that is a little bit of a dance track in a way and which acts as a stamp of Cyrus’ change within the music industry. The lyrics of the song focuses on the end of a relationship whilst also addressing the change in Cyrus’ image, and in this sense the song acts as the perfect finish to the album. Vocally the song is strong with some nice vocal layering, but the frenzied synths of the production just feels to scattered and makes the albums end feel to off kilter. It could have been a stronger finish but its good to see Cyrus understanding herself.

3.5/5

Final Review

Bangerz is an album that maybe doesn’t live up to its title in the sense that you might have expected a lot of great party tunes. The album does live up to the title in terms of the production values being powerful, with harsh beats and some great use of different genres. However, on more than one occasion songs sound to frenzied or weird, and this is something that should have been addressed. The lyrics are good but also needed fine tuning for some songs, but what is undeniable about this record is that Cyrus’ voice is shown off to great effect. I expected more from this record, but it does have its positive, which outweigh the negatives, and therefore we can’t class this record as a failure.

6.5/10

Best Track- Wrecking Ball

Worst Track- My Darlin (featuring Future)

Song of the Week-November 25th 2013

 

 

 

 

 

 

 

 

 

Song of the Week- Hard Out Here by Lily Allen

Ok, so when Lily Allen released her version of Keanes Somewhere Only We Know as the soundtrack to the latest John Lewis Christmas advert, I thought it was nice, but definitely felt that Allen had been ‘mumsified’ after having her two children. But then she went out and gave us Hard Out Here, a this is just the tune to say I’m back!!!!!! After four years away from the spotlight, the singer has returned with a song that is as much a great analysis of today’s current music industry as it is a fun pop song and an affirmation that Allen is still her witty, tongue in cheek self. The song finds Cyrus singing about the pressures of the music industry and the double standards that she perceives, with Allen being provoking but also ridiculously catchy with her lyrical content. Yes the song is very swearing heavy, but that’s nothing you wouldn’t expect from Allen, and she actually manages to make the word ‘bitch’ seem more affectionate and derogatory in my opinion. Furthermore, her lyrics are also really great in that they are fine tuned to look at specific pop culture moments that have happened just this year, such as Robin Thickes controversial Blurred Lines. Vocally the singer is feisty and keeps things smooth and simple, and although the use of Auto Tune is a little bit annoying, this just acts as another reminder of the issues that some women have had to suffer to make it in the music industry. The stomping bass and fuzzy synths of the production gives a vibrant energy to the track and makes the song even catchier, and the sound also sounds very fresh whilst still feeling true to who Allen is as an artist. Just a great comeback track that makes me ready for more in 2014

 

 

Song of the Week- 14th October 2013

Song of the Week- I Hope by Rebecca Ferguson, from the album Freedom

Rebecca Ferguson is definitely an example of the great success that can come from just even appearing on a music talent show. After finishing in second place on the 2010 series of X Factor, the singer went on two release her critically acclaimed album Heaven, which was certified two times platinum in the UK and charted in a number of worldwide territories. Yet for me she didn't get the full attention she deserved, having a soulful tone, a lyrical honesty and a all-round beautiful essence that matches with some of todays high rolling female musicians, most prominently Adele. I Hope marks the singers comeback in a way after a some time away from media attention, and whilst the track definitely keeps in line with her previous soul pop orientated work, their is for me a new intensity with this song, and it just has that awesome dramatic power that keeps you interested, and is a great way to start off the campaign for her new record. The song finds Ferguson lyrically coming to the realisation that she has too let go of the past and wishes the best for a past lover. Lyrics are always a strong point when this singer is concerned, and I Hope is no exception, with the verses being vulnerable and controlled with ease, whilst the chorus for the most part focuses on the repetition of I Hope which acts as an impressive and interesting hook. Vocally the song finds Ferguson on fine form, with her smooth tone putting the listener at ease, whilst she also brings a passion to the words that shows she is really invested in what she is singing about, and the gospel elements of the chorus add that extra fire power of catchiness to the track. What is most interesting for me with this new track is the production, which features a looping drum beat that acts as the intense backbone of the track sonically, whilst lush piano melodies bring out the potential vulnerability of some of the lyrics. The sound isn't necessarily a big change for the singer, but there is a subtle forcefulness to the songs overall sound that feels fresh, as if Ferguson is simply telling her listener that she has really grown between albums in a sophisticated, very interesting way, and this subtle edge is also great in that you really become more invested with the track after repeated listens. A stunning, stellar track that I am hoping will get into the UK top ten, fingers crossed, and a song that gets me excited for Freedom.

Whitney Houston- I Look to You Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- I Look to You

Artist- Whitney Houston

With a career that spanned more than 20 years and the release of such mega music hits as I Wanna Dance with Somebody and I Will Always Love You, Whitney Houston was the amazing voice that inspired a generation, before her sad passing in 2012. Her last studio album before her death, I Look to You saw Whitney make a triumphant comeback, as the record saw her best first week sales in the US and hit number one on the Billboard 200. Critical reception to the record was a little mixed due to the change found in Whitney’s voice, but many also praised the vitality of the record. So the question is, was this really a great final record that proved the singer could still give other music stars a run for their money, or was this more just a simply nice Houston album that people bought because they were glad to get some new music from the singer?

Track 1- Million Dollar Bill

The lead single worldwide from the record, the second US single, and the last single released by Houston before her death, Million Dollar Bill is a fun up tempo pop number with a soulful edge and funky dance groove. Co-written by fellow RnB artist Alicia Keys, the track finds Houston telling people to make some noise if there lover makes them feel good, with the song acting as a nice metaphorical celebration of the power of new love. Although the verses are a little wobbly vocally, the chorus is powerful and full of a vivacity that is infectious to listen to, whilst Houston gives us enough diva ad libs to emphasise that she has still got it. The production is also strong with the clattering cymbals and funky disco beats that make for a fun loving sound to perfectly match the vocals, giving us an all-round enjoyable tune that show Whitney can still mak you want to dance.

3.5/5

Track 2- Nothin’ But Love

Keeping with the dance energy of the opening track, Nothin’ But Love is another up tempo record you can move around to, but this time the singers voice is paired with a little bit more of a contemporary sound, although this doesn’t mean it compromises who Houston is as an artist. The song is quite powerful but sweet lyrically, as Houston shouts out to the people she loves and expresses how she is full of joy and love and won’t let anyone, or herself, bring her down. The layering of the singer’s voice brings euphoria to the track, whilst the richness of her tone makes the song vocally very believable, with the note she holds in the bridge making this a truly powerful, musical statement. The hand clapping beats of the production is a steady if typical RnB sound, but when this is an artist whose primary tool is her incredible voice, you can forgive the lack of originality in the production value.

3.5/5

Track 3- Calling You Tonight

Produced by Swedish duo Stargate, known for creating hit songs for the likes of Rihanna and Beyonce, Calling You Tonight is slightly softer offering from the singer that features the Swedish duo’s signature guitar riffs and light pop sound. The song acts as a nice love song where Houston tells her lover that she will call him tonight as soon as she gets home, as she is busy but she needs her lover to know that she does indeed love him. The song is nice vocally in the way that the singers voice has this smooth but also vibrant various in tone that gives a lilting and cute tone to the track. Lyrically things are a bit too clichéd, but whilst the production is typical of Stargate, they still manage to keep things vibrant with the euphoric tone of the songs sound and the slightly fuzzy sounding bass that makes the track a little more energising and less power lacking.

Track 4- I Look to You

The records title track and lead single, as well as the first ballad, I Look to You is powerful and dramatic musical piece that definitely proves the Whitney Houston could make a stirring ballad whatever stage of life she was in. The song finds the singer telling this person of how she can be strong with them by her side and how they have helped her through her struggles, with the lyrics being beautifully constructed and having the powerful quality of the listening relating to the song in a variety of different ways. The minimal production with the soft synths and lush piano instrumentation gives a great sound to the track, but ultimately what makes this track is Houston’s voice. It may be a little deeper in tone and less dramatic than in previous years, but Houston has that voice that exudes emotion whilst maintaining a smoothness that is classic and timeless. A worthy title track, a worthy single and a lush ballad.

5/5

Track 5- Like I Never Left (featuring Akon)

Featuring the voice of RnB star Akon and the first of two writing credits from Houston, Like I Never Left is bouncy RnB jam with a slight island feel that finds Houston regretting a decision that she made in the past and just asking her lover to take her back as if she had never gone. The song shows of some softness in Houston’s vocals, with the singers lilting tone and layered vocals giving the song this purity and sincerity that is lovely to listen to. Akon isn’t the strongest vocalist but his feature on the song gives the track a nice two fold narrative edge, and with the snappy but soft production with the flowing flute sounds and steady percussion, this is a light pop and RnB tune showing a different side to Whitney within the record.

3.5/5

Track 6- A Song for You

A cover of a song originally by recording artist Leon Russell, A Song for You is a stirring track that focuses on Whitney telling an estranged lover of how she has lived life but understands her wrongs and now just wishes for this persons forgiveness, desperately. Beginning with a slow piano intro, the track develops from a stirring ballad to an up tempo dance tune that shows that the singer is also still the queen of creating emotional tunes that still sound great in a club setting. The punchy disco beats and vibrant sound of the track is infectious, whilst Houston’s vocals are smooth and emotive, making this another great addition to the Houston wheelhouse.

3.5/5

Track 7- I Didn’t Know My Own Strength

Written by award winning songwriter Diane Warren, I Didn’t Know My Own Strength is another emotional ballad from the singer that finds the singer telling us off how she has overcome the obstacles and hard times of life and find herself in state of being strong and not letting pressure get to her, whilst being astonished in sincere way of how she didn’t know her own strength. With Houston’s struggles being well publicised, the purity and power of this song lyrically is much more powerful, with the singer once again giving us a vocal that is full of control and power and which makes the song so emotive and passionate, but not in a too indulgent way. The simple percussion and lush string arrangement, as well as the delicate piano melody makes for a strong and perfect sound to the record, and once again this is just a record that beautifully delivers on the ballad front.

4/5

Track 8- Worth It

A mid tempo RnB jam, Worth It is a sweet song that finds Houston singing of how great love is and how there are certain ways that you know a relationship and the love that is created is totally worth it. The song acts a nice celebration of love wrapped within a strong lyrical composition that is full of catchy hooks, and with the controlled but light vocal performance that is created through the layering of Houston’s vocals and way that the singer naturally carries herself, the track is another tune where the listener feels that Houston is totally sincere. The songs production is a little bit bland after a while, but the steady percussion is enough of light sound to bring out the tracks sweetness, and Houston’s vocal ad libs keep you interested tiil the end.

3.5/5

Track 9- For the Lovers

Bringing back a full on dance groove, For the Lovers is a vibrant RnB and dance pop tune that features some forceful but fun synthesised beats and a sassy, confident vocal performance from Houston. The lyrical content of the song is perhaps a little weak in terms of the way that the song finds Houston telling people that this song is for them, something we just heard a lot of on the last tarck. However, the lyrics also brush off people who bring hate into the world and also nicely creates this catchy, confident air, with the moments where Houston sings of single people believing in love really bringing out the free flowing vibrancy of the track. Vocally Houstons deep vocals bring passion and power to the track that makes the lyrics more impactful, and with a synth based sound that is just infectious, this for me would have been a worthy single choice from the record.

3.5/5

Track 10- I Got You

Another Akon collaboration, I Got You is another island tinged track that focuses on Houston singing of how her man is all she needs and how no matter where he is, he needs to know that she is there for him, just like he is there for her. The message is sweet if perhaps a bit clichéd, with Houston giving us vocal runs and licks that a vibrant and emotive for this too sound like a track she is fully invested in. The fuzzy synth notes, interesting guitar riffs and vibrant percussion creates a stomping, but light and strong sound for the track, although things are perhaps a little excessive, so for me this just feels like the weakest offering from the record at this point, meaning that the fact that the next track is the final one might be a good thing.

3/5

Track 11- Salute

Final track Salute is a mid tempo ballad esque number which was written by RnB maestro R. Kelly. The song finds the singer finding strength and being a woman who can stand on her own and doesn’t need this man in her life. The song is lyrically good in terms of the bitter but stronger sentiment, but the lyrics are definitely improved with the singer’s vocal performance, with Houston giving us some great ad libs and keeping this smooth and powerful without having to stretch her voice out in an unnecessary way. The military drum beat and light piano notes of the productions gives the song a light and smooth sound that is still a strong way to end the record, and this is just a smooth way to end things, and end them on a good note.

Final Review

I Look to You is in my eyes an accomplished record from a phenomenal artist that acts as a very good final album. I can identify with the fact that Houston’s voice changed from her early years, but the richness and new, deep level of her voice is a change that brings substance to the tracks and keeps you interested in this artist. The album is also refreshing in terms of bringing us an album that sounds like classic Whitney but which also feels fresh and modern, and definitely an album which at the time would have seen the singer kick down some of her competitors. It is a really good record, and sadly acts like another stamp on the fact that it is terribly sad we have lost this artist.

8/10

Best Track- I Look to You

Worst Track- I Got You

AlunaGeorge- Body Music Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Body Music

Artist- AlunaGeorge

Beginning their rise to musical stardom with the release of the 2012 single Your Drums, Your Love, a release that regarded much industry and internet buzz, AlunaGeorge has become a group going from strength to strength. Being shortlisted for the Brit Critics Choice Award and being on the BBC Sound of 2013 poll meant that the group seem destined for success. But by teaming up with fellow rising stars Disclosure on the brilliant dance track White Noise, the duo really hit the big time in terms of being in the public consciousness. An album described as an array of bedroom music, the duos debut, Body Music, certainly has a lot of high expectations, and so I look at this record to see if it is a treat or let down.

Track 1- Outlines

Opening track Outlines starts the record of nicely in terms of living up to its title in a way, as this bass heavy number has a soft, sultry feel about it. The song finds the lead singer Aluna Francis singing of how she can’t stop tracing the outlines of her lover, but she worries that that is all she has. The song’s lyrics border the lines of sensual, sweet and sincere, but in every aspect these emotions are also nicely brought out by the airy vocals of Francis, who comes across as a bit of a playful good girl and makes for an even better listen. The layering of the singer’s voice within the middle section gives the track a nice ethereal edge, and with the stuttering bass and soft edge of the synths, this is a really soft but cool listen that sets the record off to a good start.

3.5/5

Track 2- You Know You Like It

Re-released before the album after the groups new found success, You Know You Like It is punchy, sensual number with a fuzzy bass and twinkling synth notes that is built on the idea of confliction. Francis sings of how her lover likes the relationship and loves her, even if she might drive him insane. The lyrics are playful and a little feisty, and with the tone of the bass there is also an edge of confidence within the track that makes it a sway along, great number. At points the repetition can be a much, but the softness of Francis’ voice puts you at is, and she brings out the characteristics of the track to great effect through the way she sings. The hip hop edged, scattering beats in between the verses and chorus keeps the listener on their tones, creating a song that feels inventive and fuun but also a little deep at the same time.

3.5/5

Track 3- Attracting Flies

Coming after the success of their collaboration with fellow new artist Disclosure, Attracting Flies has become the group’s most successful solo release today, and it is definitely worthy of its success. The track finds Francis singing of how her lover talks a lot of rubbish and how she is just not caring about what he says, with the singers pitched vocals having this carefree essence that makes this a potential anthem for some scorned girls out there. But the best thing about this song has to be the intricate melodies and the lush synths that permeate the record courtesy of George Reid, creating a bouncy sound that you can really bop along to, and elevating the catchiness of the hook driven chorus.

4/5

Track 4- Your Drums, Your Love

The groups and Body Music’s first single, Your Drums Your Love is the weirdest offering from te group so far in terms of the computer distorted voice that states this songs title, but that doesn’t mean that this isn’t an intriguing number with a catchy sound. The song has a little bit more of an RnB lilt the previous track, with the track having more of a bass heavy sound with clattering beats that bring a hip hop feel to the groups digitised sound, but at the heart of the song is definitely Francis airy vocals, with the chorus being a moment where the singers goes a bit higher in vocal range and brings true emotion to the song. The song is a bit of a complex love song lyrically as Francis sings of treading water for this boy’s love, but also feeling that she might not be good enough.

3.5/5

Track 5- Kaleidoscope Love

With a snappy backbeat and the use of horns, Kaleidoscope Love comes across as a bright pop number that has a bit of an old school twist and an RnB edge. The message of the song is rather simple and metaphorical, as Francis is this girl who sees new singles because this guy just brings something new and lovely to her life. The message is sweet and is perfectly suit to the soft and breathless texture of Francis’ voice, with the final choruses going into a higher register for the singer that makes Francis and the listener seem a bit euphoric. The shimmering synth notes and snappiness of the production creates an equally cute sound to the track, and the only issue here is that the lyrics are a bit hit and miss, with the chorus being catchy, but the entire song is a bit clichéd in places.

3.5/5

 Track 6- Bad Idea

Bad Idea almost acts as the antithesis to Kaleidoscope Love, as here we find Francis singing of how she has to get out of the relationship because this guy just brings her down. The message is feisty but the chorus lacks the catchiness of the previous songs because sings are a bit too fast vocally, and the ‘do do’ hook feels a little too simple. The other issue is that Francis has this cute quality to her voice that creates this feeling that she isn’t really invested in what she is singing, with the chorus going to the point where she can be seen as a whiny kid. Reid still manages to make the song catchy with the funky, disco flecked beats and finger snapping grooves, but at this point the group do seem to lose some of their charm.

2.5.5

Track 7- Diver

Beginning with this cool intro that feels very 90’s RnB with a hint of an Asian influence, Diver is one of the more funky and distorted tunes from the group where the sound of the track definitely seems to take precedence over lyrics and vocals. The stuttering rhythms and violin edged touches within the production makes a sound that is interesting and pleasurable to listen to, and although the lyrics are a bit lacking in terms of a catchy hook, Francis’s soft and sensual vocals gives the song a nice edge and this believability that the singer won’t go out of a relationship just because the other person wants to, with the stuttering effects on her voice in places making the song more lively and a touch more intriguing.

3.5/5

Track 8- Lost & Found

Opening with stop and start house music rhythms that get you hooked from the beginning, Lost and Found finds the group in a little bit more of a dance state, with their music definitely by this point feeling indebted to the 90’s era. The song finds Francis seemingly kissing off this guy who could have had her when he wanted and when she was on the rebound, but now he can’t really have her. Francis vocals work great in conveying this sense of her being both a sweet and flirtatious girl, with the distortion of her vocals in the chorus adding to the bouncy texture of the song that is really catchy. The chorus is supremely catchy and the funky but also simple rhythms of the production with the snappy bass and bubbly synths makes for a sound that is just fun to dance along to, and it would just be a shame if this was not a single at some point in the future.

4/5

Track 9- Best Be Believing

With the distorted ‘na na na’s’ that open the song, this is another track that is a bit weird in lyrical and vocal composition, but which is still fun and also a bit feisty. Here we find Francis singing of how this guy best be believing that she is great and that everything in life is just going to be great. The lyrics aren’t sharp in the way that some of the songs have been, but song is good in the way that Aluna shows off a bit more vocal range, whilst the clattering, snappy beats and smooth synths create a nice sound as always. It is good in many ways, but I also think this might be a song that polarises people.

3.5/5

Track 10- Superstar

With the gritty and fuzzy bassline of the intro, this song has a rough sound that adds an interesting layer to the song and breathes a nice bit of diversity within the record. The production almost has this breathless quality that really works well with the lyrical message, as Aluna sings of this guy who is an unknown superstar, but rather he is just great in his heart, and in many ways that song seems designed to bring the listener out of a bad frame of mind and instil the idea that everyone is a Superstar. The chorus is catchy in terms of the use of repetition and the way that the verses build towards a snappy chorus, and the only thing that kind of hinders the song is Aluna’s vocals, which are smooth and light but ultimately feel a touch too safe at this point.

3/5

Track 11- Just a Touch

Just a Touch is a track where the production definitely takes centre stage from the beginning, as the squiggly synths are buoyant and intriguing and make for a sound that is vibrant and infectious, with the chorus having an energised tone with the use of island tinged drums. The production also feels stylish and intricate and so this song really highlights how musically interesting and different this group is. The song is lyrically catchy with the simple chorus focusing on Aluna telling this guy she doesn’t want to rush into things and she cares for him a lot. The vocals are on point, if at this this point like the interest of the records first half.

3.5/5

Track 12- Body Music

Title track Body Music keeps the intricacy of the previous track going, but things are also a little slinkier, more seductive and more bass heavy. Lyrically this track for me brings things back onto a better form, because the verses feel just as powerful and intriguing as the chorus, whilst the song is still catchy and builds to a simple but great chorus. Vocally this is also much better as the delicate, lilting tones of Aluna’s voice really brings out the seductive qualities of the track to great effect, as Aluna tells her man that his body is like music that she keeps wanting to listen to. The slinky texture of the production with the smooth groove and lovely synth section before the end is another great essence of the track, and it would seem appropriate to release this as a single in the future.

3.5/5

Track 13- Friends to Lovers

The final proper track, Friends to Lovers is another slinky, glittery synth affair that takes a while to get into and is a little annoying because of this. However, when the song does kick in sings are good in terms of Aluna’s vocals, as the singer plays the flirtatious, in love and cute girl very well and has an airy texture to her voice that in this instance is great to listen to. The song focuses on the idea of not knowing how to get to that state of not being friends but lovers, and having doubts about whether that is the right thing but also having these feelings you can’t hide. The simplistic and youthful quality of the lyrics is great, with the song kind of having this diary like quality that is fun to listen to. The slinky production with the intricate notes and plunky rhythms keeps the track in this airy tone that makes the lyrics feel that bit more potent, and making the song work in every aspect.

3.5/5

Track 14- This Is How We Do It (bonus track)

Bonus track This Is How We Do It is a cover of the well-known Montell Jordan track that is all about living life and showing that you are just living your life the way that you want. The songs swag is fun and infectious and the blending of the lyrics with this new, synth based sound which is light and snappy is quite fun. But vocally Aluna just sounds like someone trying to emulate the original, and ultimately this just an alright cover and deserves its bonus track state, because a really great cover would have added an extra layer of brilliance to the song.

3/5

Final Review

AlunaGeorge are a fun and quirky duo who definitely enrich the music landscape with their synth driven sound, catchy lyrics, and the airy, quirky voice of lead singer Aluna. Body Music is an album that definitely lives up to its title with some tracks, and is an album full of solid hooks and intricate production that puts other artists to shame. That being said, the record does have some issues, with certain tracks marring the finesse of the record in terms of some lazy lyrical compositions, and at times Aluna’s voice can definitely wear thin in terms of pleasing the listener. But if the tracks were cut down and the vocals were worked on, then their next album would be superb, and even with the issues, AlunaGeorge have still given us a cool, diverse record that is much better than some of their peers.

7/10

Best Track- Lost & Found

Worst Track- Bad Idea