2015].

December 2, 2015 MarcyB0yLeave a comment

Since their rise to prominence in 2013, The 1975 have established themselves as one of the UK’s biggest bands. Renowned for their eclectic music and diligent outlook, they have secured an ever-increasing fan-base, a number one album and sold out venues all over the world. I found myself crammed into a packed Brighton Centre on Thursday evening to catch a glimpse of the magic.

The evening commenced with support act Ratboy (real name Jordan Cardy). The name is certainly fitting – his image, lyrics and music (an amalgamation of rock and hip-hop) possess a gritty and shabby feel to them. Along with his band, he delivered an energetic but rather immoderate set.

Over the long half-an-hour wait between Ratboy and The 1975, the house lights dimmed gradually, a brilliant touch which only intensified the anticipation in the venue. Finally, at 9pm, scatty lasers swept the room, static occupied the screens and eerie sounds eventually evolved into a pink glow and the distinctive Bowie-esque guitar riffs of latest single ‘Love Me’. It was the perfect opener, generating a buzz of excitement which did not falter throughout the remainder of the show. The band continued to power energetically through hits such as ‘Heart Out’ and ‘Settle Down’ in addition to the material from their early EP’s such as the slushy ‘Falling for You’ and effortlessly catchy ‘So Far (It’s Alright).’
The audience were also teased with four new tracks from the band’s upcoming second album. Whilst this was a daring move, the new material was exceptionally well-received by the crowd. Similarly to the band’s début album, the new songs verified that the ‘80’s are still very much alive. ‘She’s American’ is an amalgamation of previous singles ‘Heart Out’ and ‘Settle Down’, ‘Change of Heart’ is the band’s take on Madonna’s ‘Crazy For You’ whilst the brilliant ‘Somebody Else’ utilises scatty synthesiser clips and funky bass lines. It was ‘The Sound’, however which prompted the most rapturous response from the audience, triggering exuberant jumping to the funky 80’s-esque indie-pop track.

The new songs weren’t the only modification since the band’s previous tour. The band has undergone a significant transformation, seemingly embracing pop music as their primary focus. Their famed monochrome façade has been subsequently replaced by a vivid pink glow. Indeed, the stage was permanently ignited in a sea of effervescent technicolour, primarily supplied by screens and laser lights. For such an intimate venue, the display was spectacular and accompanied their cinematic array of songs perfectly.

The band as a whole also exhibited more confidence and proficiency whilst frontman Matt Healy’s vocals were cleaner and more self-assured than ever before. Healy jauntily covered all areas of the stage, interacting with all parts of the arena. His carefree charisma made him an endearing frontman to watch, particularly when he took a sip from his glass of wine or lit a roll-up during the fidgety instrumental-dominated ‘Menswear’. Every movement was effortlessly cool, well-timed and sent the crowd into meltdown. It’s too easy to neglect the contribution of the rest of the band, however – particularly bass player Ross MacDonald and guitarist Adam Hann. George Daniel’s drumming plays a significant role in the band’s tight, funky sound whilst MacDonald and Hann swapped guitars for synthesisers and vice versa an exhausting amount during the show.

Throughout the show, it was clear that Healy and the crowd fed off each other and it worked beautifully. “We’ve invested in screens so you don’t have to. We don’t want you to spend the show watching us through screens as that would just be ironic, wouldn’t it? Just for this song, I want you to put your phones away” he stated before an emotional performance of ‘Me’. Needless to say, not one phone was visible during the track. It was a moment which reinforced the loss of interaction; much of the crowd unknowingly watched the show through the screens of their phones, valuing capturing the moment on Instagram and Snapchat over memory. It also reinforced Healy’s impeccable ability to engross an audience.

The atmosphere was as animated as my previous experience of seeing The 1975, perhaps slightly intensified. At least ten females were removed from the crowd by security, either the consequence of fainting or drinking too much. One quick glance around at the audience during the emotional ‘Robbers‘ revealed tears sliding down many’s cheeks. It was clear that the band’s music plays a huge role in the lives of many.

The evening culminated with a perfect crowd-rousing trio of songs for the show’s encore. The audience were captivated during the tender ‘Medicine’ before launching into a wild frenzy during the arguably best-known hits ‘Chocolate’ and ‘Sex’.

It was a privilege to be present at one of the most spectacular shows ever held in an intimate venue and I for one believe this is still only the beginning for The 1975.

Rating: 5/5.

Adele – 25 Album Review

November 21, 2015 MarcyB0yLeave a comment

It’s been a long time since an album has been as highly anticipated as Adele’s ’25’. Her comeback after a three year hiatus (excluding the release of James Bond theme ‘Skyfall’) has exceeded the expectations of all; lead single ‘Hello’ smashed Vevo records for the most views in one day and launched straight to the top of singles charts all around the world. In the UK, it became the biggest selling Number One in three years. It’s fair to say Adele has become something of a global superstar since the release of previous album ’21’ and with the release of ’25’, it seems that she will remain that way.

’25’ is a conventional Adele album; a collection of emotive ballads which mourn the loss of ex-lovers, a carefree life and old friends. It doesn’t attempt anything too audacious and isn’t particularly innovative but it remains loyal to Adele’s signature sound and for that, it should be commended.

For the large part, Adele sticks rigidly to the formula of ’21’. ‘Hello’ is arguably the most dramatic track on the album and was wisely chosen as the lead single. As the album’s opening track, it’s well-placed and reintroduces Adkins back into the homes of the public. Similarly, ‘Remedy’ co-written by familiar collaborator Ryan Tedder, is a pretty and melodic ballad featuring nothing more than an exquisite piano riff and Adele’s soulful vocals. It’s a reinforcement that sometimes leaving a song in its most raw, organic form delivers the best results. ‘Love in the Dark’, one of the album’s stand-out moments, is also left well alone and is comprised of nothing but piano chords, sweeping strings and Adele’s vocals aching with sincerity. The powerful chorus is lush with orchestration and it’s a concrete reminder of what Adele does best. ‘All I Ask’ follows the same formula utilising pretty piano riffs as Adele begs her lover to leave her with a lasting memory before they officially end their relationship. Co-written by Bruno Mars and his frequent collaborators, Mars’ influence is clear – it doesn’t require much imagination to picture his vocals on it but Adele inevitably glistens on the track.

‘When We Were Young’ is another of the album’s highlights, a track so profound, it completely blows ‘Hello’ out of the water. The chord progression of the chorus rather bizarrely mirrors Razorlight’s ‘America’ in places but it’s a substantial, soulful ballad glowing with sincerity. Sombre but captivating ballad ‘Million Years Ago’ is another of the album’s highlights, utilising nothing but Spanish-sounding acoustic guitars and Adele pining for a return to simpler times. ‘I Miss You’ is darker in tone and is an eerie soul ballad featuring a jazz organ, echoing broken acapella vocals, Phil Collins styled drumming and moody piano chords.

At times, the album does attempt to break out of the mould Adele has created for herself. The sassy ‘Send My Love (To Your New Lover)’ refreshingly introduces funky acoustic guitar riffs into the fold and is relatively jovial compared to the rest of the album. Likewise, ‘Water Under the Bridge’ is a breezy pop track on which Greg Kurstin stamps his signature synthpop sound. It’s different to anything Adkins has ever released before, comprised of funky guitar riffs, reverberating vocals and crashing percussion but it remains loyal to her sound through its utilisation of rich gospel harmonies and unequivocal piano chords. It’s one of the best tracks of Adele’s career and is crying out for a single release. Gospel music is also the primary influence on ‘River Lea’, a soulful track featuring hand-clap percussion, rich layered vocals and jazzy organ chords. Closing track ‘Sweetest Devotion’ also attempts to lift spirits high and finishes the album on a more positive note. Weeping guitars, a piano riff and gentle guitar strums open the track before it evolves into an uplifting soul track. It’s clear the track has been written with loved ones in mind, most probably her son Angelo and it’s a fitting finale.

A safe but pleasing album which remains loyal to her much-loved sound.

Rating: 4/5.
Highlights: Hello, When We Were Young, Water Under The Bridge, Love in the Dark, A Million Years Ago, All I Ask.

’25’ is available now on XL Records.

Take That – III (2015 Edition) Album Review

November 20, 2015November 20, 2015 MarcyB0yLeave a comment

Upon its original release in December last year, ‘III’ was a pivotal moment in Take That’s career. Now a three-piece following the shock departure of Jason Orange and Robbie Williams returning to his solo career, the band and general public were somewhat apprehensive of the band’s future. They needn’t have worried. ‘III’ flew straight into Number One, breaking the record for the most pre-ordered album in Amazon’s history and was later certified platinum. A sold out UK arena tour followed and Take That validated their persistent presence as one of the UK’s most successful bands.

Almost one year later, ‘III’ is still as bold and buoyant as it was upon release. ‘These Days’ remains a piece of pop perfection with its Nile Rodgers Chic-like guitar riffs, disco stomping percussion and tight harmonies. 2015 addition ‘Hey Boy’ follows the same formula, mirroring camp 80’s disco. Lyrically, it’s rather lazy in comparison to the rest of the album and Owen’s rap-like vocals are questionable but the track is incessantly funky, glimmering with Greg Kurstin’s polished production. Kurstin also steers the ship on other golden pop moments on the album. ‘If You Want It’ is a sleek pop track featuring gorgeous shimmering synths, euphonious layers of harmony and a kick-ass beat whilst the poignant ‘Freeze’ mourns the departure of Jason Orange through a dramatic ’80’s synth-pop track.

‘Progress’ producer Stuart Price returns on the more electro moments. ‘Let in the Sun’, one of the album’s highlights, is reminiscent of material by the likes of Calvin Harris; an EDM influenced track featuring gorgeous moments of falsetto by Barlow, rousing lyrics and an energised chorus. Lead vocal duties are generously handed to Owen on ‘Lovelife’, an effervescent electro track with a Parisian-sounding melody, acoustic guitar strums and stomping percussion. ‘Into The Wild’ is a dramatic and powerful track on which Take That channel The Killers, featuring eerie electro sounds, tribal drums and Owen’s distinctive bass vocals. A bizarre union of ‘Shine’ and ‘Underground Machine’ is found on ‘I Like It’, a bouncy and mechanical track which features synthesised bass, funky guitar riffs, Bee-Gee-like falsetto harmonies and as many production effects as Price can possibly toss into the mix.

Price knows how to induce softer moments in the album too. ‘Portrait’ begins tentatively with Barlow’s falseto fluttering over gentle guitar strums and timorous synthesisers before before Donald and Owen join the fold in a catchy Barber-shop-styled ‘ba ba ba ba ba ba ba ba’ chorus. The lush layers of harmony and giggling synthesisers are a lovely touch in Price’s production and it’s a gorgeous, uplifting track. Howard Donald lends his lead vocal to ‘Give You My Love’, a mellow pop track which is reminiscent of Barlow’s keyboard frolicking on 1993’s ‘Everything Changes’.

John Shanks, producer of the band’s ‘Beautiful World’ and ‘The Circus’ albums brings a more organic sound to the album. ‘Flaws’ is a raw, classic Barlow-ballad which sounds as if it could have been an outtake from Barlow’s ‘Since I Saw You Last’ solo album. It’s a welcome break from the intensity of the album and a lovely track. Original album finale ‘Get Ready For It’ is a euphoric pop-rock stadium anthem abundant with ‘woah’ hooks, crashing percussion and fierce guitar strums. Shanks is also responsible for producing the bonus tracks: invigorating anthem ‘Believe’, Beatles-esque ‘Amazing’ and the spectacular power ballad ‘Do It all For Love’.

Elsewhere, Take That allow lesser-known producers to experiment with their sound. In-demand but still largely unknown producers Mattman and Robin sprinkle their magic on conventional Take That ballad ‘Higher than Higher’, another of ‘III’s’ highlights. Precarious percussion, a mesh of broken vocals and jittery synthesisers open the track before it stabilizes into a steady marching beat. Barlow delivers perfect, tender vocals whilst Donald and Owen provide gorgeous harmonies which reverberate endlessly into the spaced-out, meticulously programmed R&B track. Their ‘higher, higher than higher’ harmonies in the track’s finale somewhat bizarrely emulate an African choir but is one of many lovely touches in its arrangement and production.

Profound power-ballad ‘Will You Be There for Me?’ is comprised of descending percussion, soft plucked acoustic guitars and lavish layers of harmony. Produced by unknown producers AFSHeeN and Josh Cumbee alongside German hitmaker Toby Gad, it’s a moody R&B styled ballad with a brilliant vocal performance by Barlow. It’s yet another change in sound for Take That but one which works perfectly and is without a doubt the best of the new tracks from the 2015 edition.

WTNSS, a duo consisting of Charlie Russell and Bradley Spence, lend their production expertise to final two tracks ‘Carry Me Home’ and ‘Bird in Your Hand’. Evidently Owen’s choice of producers (the duo worked on his 2013 ‘The Art of Doing Nothing’ solo album), they bring another dimension to the album. ‘Carry Me Home’ is a folk-styled pop track featuring tribal drums in the same vein as ‘Into The Wild’, metallic guitars and an epic chorus. Once again, harmonies are diligently layered to great effect and Owen’s distinctive falsetto vocals are particularly lovely. Final track ‘Bird in Your Hand’ is a delicate piano-synth ballad on which the band’s vocals reverberate infinitely. It’s a gorgeous song which mirrors hidden Progress track ‘Flowerbed’. The track is noteworthy for featuring the song-writing credit of the late Michael C. Corson, husband of a Thatter. His lyrics found their way to team Take That and elements were used in the final product.

‘III’ has maintained its ability to impress. Whilst the new tracks don’t necessarily contain the sturdiness required to be single-release material, they are a hugely enjoyable addition to the album.

A triumphant album featuring an eclectic amalgamation of material.

Rating: 5/5 [Both original album and 2015 updated version.]
Highlights: These Days, Let in the Sun, Portrait, Higher than Higher, Freeze, Flaws, Do it all for Love, Will You Be There For Me, Bird in Your Hand.

‘III (2015 Edition)’ is available now on Polydor Records.

[You can read my original review of ‘III’ here.]

Ben Haenow – Ben Haenow Album Review

November 18, 2015November 18, 2015 MarcyB0yLeave a comment

If Simon Cowell was particularly apprehensive about Ben Haenow being declared the eleventh winner of the X Factor, he had every right to be. The alleged curse of male X Factor winner has been in full force since Series One winner Steve Brookstein’s refusal to be Cowell’s puppet and subsequent drop from Syco music. Since then, male winners have come and gone; Shayne Ward, Leon Jackson, Joe McElderry, Matt Cardle and James Arthur – all recipients of a fleeting moment of fame.

Still, it began promisingly for Ben Haenow. During his stint on the X Factor, the former white van driver was largely consistent, gaining the most votes in six out of the ten weeks. Début single was an enjoyable cover of OneRepublic’s ‘Something I Need’, a rousing pop-gospel anthem. It is largely this sound that Haenow has adopted for his début self-titled album but with varied results.

Lead single ‘Second Hand Heart’, a duet with US powerhouse singer Kelly Clarkson opens the album modestly. Whilst a pleasant pop track, it’s clear why Clarkson has been enlisted to lend her vocals to it. Without her sparkle, it’s unlikely the track would have charted at all (it reached a dispiriting #21 in the UK singles chart). ‘Slamming Doors’ and ‘Way Back When’ are mope-y ‘love is exhausting’ pop ballads whilst mediocre vocals let down saccharine piano ballad ‘Make it back to me’. ‘Start Again’ is an average arena pop-rock anthem featuring an easy sing-along chorus and it all gets overly-sentimental on ‘Brother’, a track about, well, you guessed it. It’s a generic pop-rock anthem but has a competent chorus.

There are some successes, however. ‘All Yours’ is Haenow’s Macy Gray moment, utilising R&B beats, a jazz organ and rich gospel choir vocals. Haenow’s vocals are sturdy and well-matched to the track. ‘Lions’ is a charming Ben Howard-esque ballad featuring folk acoustic guitars and a melodic chorus whilst ‘Something I Need’ is still a surprisingly enjoyable and substantial cover which closes the album beautifully.

The album’s triumph is ‘Testify’, a buoyant and rousing pop track which mirrors the pop-gospel synthesis found on ‘Something I Need’. Co-written by Daniel Bedingfield, it’s tight in production, catchy and optimistic, featuring gospel music-like piano chords, fierce percussion and of course a gospel choir.

The main issue is the album lacks any variation or diversity. It’s consistent in genre but is painfully dull aside from its pop-gospel moments. It’s the generic and conventional X Factor winner album, plastered from start to finish with a drab form of pop-rock. At times even Haenow sounds bored; it’s evident he’d much rather have created the rock album he’d always wanted to make.

A bland and uninspiring album which, had it developed the pop-gospel theme further, could have been infinitely better.

Rating: 2/5.
Highlights: All Yours, Testify, Something I Need, Lions, Greatest Mistake (Deluxe Track).

Ben Haenow is available now on RCA/Syco records.

Ellie Goulding – Delirium Album Review

November 16, 2015November 16, 2015 MarcyB0yLeave a comment

Since her launch onto the music scene five years ago, Ellie Goulding has become one of the UK’s most successful artists. Largely propelled by an appearance on ‘Later… with Jools Holland’ in addition to winning the BBC Sound of 2010 poll, début album ‘Lights’ was a huge success, spawning six singles. Second album ‘Halcyon’ fared even better whilst the spectacular ‘Love Me Like You Do’, taken from the Fifty Shades of Grey soundtrack flew into Number One around the world earlier this year.

‘Delirium’ is far more of a pop effort than previous two albums. Whilst the eerie electro elements, reverberated vocals and scatty synths are still present, it’s far more upbeat in nature and is abundant with catchy pop hooks. An assortment of huge pop writers are present on the album, aiding Goulding in her venture into commercial Pop, including Ryan Tedder, Greg Kurstin, Max Martin, Carl Falk and Jim Eliot.

The pop-iest moments are the album’s forte. Greg Kurstin is enlisted as a writer on five tracks and each of these work beautifully. ‘Aftertaste’ is an exuberant track featuring shimmering synths, piano chords and funky guitar riffs. It’s still undoubtedly Goulding and her electro-pop but Kurstin’s production adds an extra dimension which transforms it into one of the album’s highlights. Similarly, ‘Don’t Panic’ is a pop/disco foot-stomper built around an oriental xylophone-like riff which is at times reminiscent of 80’s Madonna & Cyndi Lauper. ‘Something In The Way You Move’ is effortlessly catchy with funky bass riffs and melodic pop hooks whilst ‘Around U’ is somewhat bizarrely reminiscent of computer game music but is hugely enjoyable. It’s a breathy, synthpop track which could easily have been featured on début album ‘Lights’.

The album also uses elements of gospel-music on a selection of tracks. ‘Holding on For Life’ is a prime example, featuring a gospel choir and house piano riffs to create a unique but triumphant fusion of gospel-house. ‘We Can’t Move To This’ is built around scatty vocal clips, evolving into a nineties-house-like track with bizarre pitch-moderated vocals. Sultry power-ballad ‘Love Me Like You Do’ is slotted in nicely into the middle of the album and is still a prodigious piece of pop perfection.

‘Keep On Dancing’ is a more assertive track featuring a catchy whistling hook, descending hollow synths and dance-pop percussion whilst ‘Codes’ is a superior version of ‘On My Mind’, utilising jittery synths, meticulously programmed beats and a hugely addictive chorus.

The album does lose focus at times. Lead single ‘On My Mind’ is by far one of the worst tracks on the record. Goulding’s attempt to fuse electro-pop with R&B results in a confused track on which trap drums and rap-like vocals fall flat. Similarly, whilst undoubtedly catchy, the repetition present in ‘Don’t Need Nobody’ is more irritating than enjoyable.

Towards the end, whilst maintaining the pop and electro-pop elements, Goulding revisits the folktronica she bought to prominence on début album ‘Lights’. This is particularly the case on ‘Lost and Found’ and ‘Devotion’, two slightly intense moments featuring acoustic guitars and shimmering piano chords but feature impressive electro breaks. Second single, the dark and emotive ‘Army’ is also loyal to Goulding’s signature sound and is particularly reminiscent of material on ‘Hacylon’. It’s a gorgeous pop ballad and a stand-out moment on the album. The album closes with ‘Scream It Out’, an epic arena-anthem track with a euphoric chorus.

At sixteen tracks and almost an hour long, ‘Delirium’ is incredibly long. An album of this length is always an audacious feat but it holds its own and is largely enjoyable.

A bold, effervescent album which remains loyal to Goulding’s signature sound but exhibits the courage to place a pop spin on it.

Rating: 4/5.
Highlights: Aftertaste, Something in the Way You Move, Codes, Love Me Like You Do, Don’t Panic, Army.

‘Delirium’ is available now on Polydor records.

Justin Bieber – Purpose Album Review

November 15, 2015November 15, 2015 MarcyB0yLeave a comment

The past three years have been a somewhat turbulent time for Justin Bieber. The former teen star descended into a very public meltdown, his once wholesome image tarnished by an extensive inventory of legal issues involving reckless behaviour, drug usage, dangerous driving and other general brattish behaviour. It appeared that Bieber was on a mission to destroy his career and disappear from the music industry, never to be seen again. 2015, however, has been a year of incredible transformation. His triumphant musical comeback has been a surprise to many; singles ‘Where are U now’ and ‘What Do You Mean?’ have been warmly received by critics and fans alike. It appears J-Biebz has got his life back on track.

Bieber really comes into his own on ‘Purpose’, an exuberant affair abundant with euphoric dance-pop. The bubblegum pop has been replaced by material which is far more mature and substantial in nature. It’s still undoubtedly pop music but it contains far greater depth, borrowing influences from EDM, tropical house and R&B.

Much of the album is in the same vein as the impossibly catchy ‘What Do You Mean’, built around electro/pitch-moderated samples, slick beats and breathy synths. Latest single ‘Sorry’ is a prime example, utilising squeaky synths and samba-like percussion to create a buoyant R&B track. ‘Company’, one of the album’s highlights, is a buoyant tropical-house flavoured track with bouncy percussion, breezy keys and vivacious dance bass riffs. It’s low-key but effortlessly catchy and reinforces that sometimes in pop music, simplicity is pivotal.

Elsewhere, the album is softer, mimicking slow-jam nineties R&B. Album opener ‘Mark My Words’ is an understated but effective introduction. Featuring little more than broken fragments of Bieber’s vocals and tender piano chords, it doesn’t particularly lead anywhere but it’s pleasant enough. ‘I’ll Show You’ is built around jittery high-pitched vocal samples and trap-like beats, resulting in a dark but effective R&B track. Dainty acoustic guitar arpeggios are the main feature of ‘No Pressure’, a waltz-like R&B track featuring a rap from Big Sean whilst ‘No Sense’ follows the same formula but is a little heavier. On ‘No Sense’, Bieber’s vocals have never sounded cleaner and they ride the minimal instrumentation beautifully. The song is let down however by an excessively auto-tuned and dispensable segment from Travi$ Scott. ‘The Feeling’, a collaboration with American singer-songwriter Halsey is another of the strongest tracks on the album, comprised of tremulous percussion and a catchy, melodic hook.

At times the album does come close to regressing back to Bieber’s bubblegum pop. Whilst an enjoyable addition, soft and heartfelt piano ballad ‘Life is Worth Living’ is rather saccharine and carries a naivety reminiscent of his earlier material. Likewise, Ed Sheeran collaboration ‘Love Yourself’ is a welcome break from the intensity of the album but does feel rather feeble compared to the rest of the album. ‘Children’ is the most EDM-influenced track on the album (aside from ‘Where are U Now’) but is one of the album’s weakest moments. The corny and frankly rather creepy lyrical content detracts from Skrillex’s scatty production and is reminiscent of Bieber circa 2011.

There is one efficacious ballad on the album, however. Title track ‘Purpose’ is a gentle piano ballad which closes the album beautifully. Whilst it is almost tarnished by the bizarre addition of spoken clips of Bieber discussing his personal life, it thankfully holds its own.

‘Purpose’ is the first of Bieber’s releases to finally serve as a true reflection of himself and his own musical influences. It’s bold, buoyant and enchanting from start to finish.

Rating: 4/5
Album Highlights: I’ll Show You, What do you mean?, Company, Where are U now, No Pressure

‘Purpose’ is available now on Def Jam records.

One Direction – Made in the A.M Album Review

November 13, 2015November 13, 2015 MarcyB0yLeave a comment

Love or hate them, there is no denying One Direction’s footprint on and significance in Pop history. In a whirlwind five year career, they have won five Brit awards, four MTV Video Music Awards, cracked the U.S and smashed records all over the world. They have been without a doubt one of the most successful exports of the UK; the biggest band since The Beatles and Simon Cowell’s superlative product.

The release of fifth album ‘Made in the A.M.’ carries an assortment of emotions for a multitude of reasons. It’s the first without Zayn Malik since his departure earlier this year and it’s the band’s final album before their hiatus. Don’t be fooled into thinking the album has taken a slap-dash approach, however. It is quite the contrary; an enthralling amalgamation of tracks of different genres.

Overall, the album largely follows the same formula as previous One Direction albums. Songwriting duties are largely handed to long-term collaborators Julian Bunetta, Jamie Scott and Ed Drewett, with co-writing from all band members. Unlike previous albums, however, there is no material donated by superstar singer-songwriters. Members of McFly and Snow Patrol in addition to Ryan Tedder of OneRepublic & Ed Sheeran have all previously donated songs to the band but are noticeably absent from ‘Made in the A.M.’ Instead, the album is formed by a close-knit group of long-term One Direction songwriters.

Album opener ‘Hey Angel’ is a euphoric stadium-rock-influenced Pop track and is one of the best songs of One Direction’s career. It’s the band’s ‘Bittersweet Symphony’, comprised of rich orchestration, heavy stop-start percussion and is built around very few chords. ‘End of the Day’ captures similar levels of euphoria through an irresistible hand-clap Chorus. Lead single, The Police-influenced ‘Drag Me Down’ is still a powerful track with its funky reggae-styled bass riffs and its dubstep-informed chorus. Likewise, second single ‘Perfect’ is an emotive, anthemic track featuring reverberating sounds and punchy percussion whilst ‘Never Enough’ utilises a mesh of acapella vocals, a shuffling beat and Jack Johnson-like guitar strums before launching into a heavier chorus. Many elements are tossed into the mix including brass instruments, distorted synthesisers and Michael Jackson Dirty Diana-esque ‘Come on!’s’. ‘Olivia’ is another of the more enjoyable tracks from the album on which the One Direction lads have a whale of a time cramming as many syllables as possible into the verses. It’s the closest the band have come to imitating The Beatles musically and is effortlessly catchy. The band channel Fleetwood Mac on another of the album’s highlights ‘What a Feeling’, comprised of gorgeous layered harmonies and funky bass and guitar riffs. In fact, the band’s harmonies have never been cleaner and they play a significant role in the album’s success.

As always, the ballads form some of the album’s best moments. ‘If I Could Fly’ is a gentle ballad comprised of little more than a piano, cello and strings whilst ‘Infinity’ is a lovely rock-ballad which mimics Coldplay circa 2005, sounding uncannily like ‘Fix You’ during its explosive climax. The folk-infused ‘I Want to Write You a Song’ is beautifully simple and a lovely moment in the album. ‘Long Way Down’ is one of the album’s less commercial ballads but is a particular highlight. Led by gentle guitar strums, and Country-influenced wailing guitars with a low-key Chorus, it’s an exquisite addition to the album and is at times reminiscent of some of Robbie Williams and Guy Chambers’ best material in the late nineties. Another stand-out moment is found in ‘Love You Goodbye’, a track which opens tenderly with gentle piano chords & jittering synths before evolving into an emotive pop-rock ballad. It’s classic One Direction but captures far more maturity than their previous work. The weeping electric guitars which frame the second and third chorus is a beautiful addition and it is without a doubt one of One Direction’s best tracks.

Album closer ‘History’ is an enjoyable acoustic guitar-based track and whilst it rather bizarrely sounds like a Disney musical track, it closes ‘Made in the A.M.’ perfectly.

It’s clear the lads have used their influences and Pop heroes to shape the album. Michael Jackson, Jack Johnson, Coldplay, The Verve and Fleetwood Mac are just some of the artists mimicked but its this diverse range of influences which makes the album so rich in various genres.

The album is not quite as compelling as ‘Four’, but is a diverse and hugely enjoyable album nevertheless.

Rating: 4/5
Album Highlights: Hey Angel, Perfect, Long Way Down, Olivia, What a Feeling, Love You Goodbye.

‘Made in the A.M.’ is available now on Columbia/Syco records.

The Japanese House – Clean EP Review

November 12, 2015 MarcyB0yLeave a comment

Over the years, elusive and practically faceless artists have become a rarity. In an age where commercial music seemingly thrives off fan connection on social media, appearance, controversy and personality, it is exceedingly infrequent for an artist or act to emerge and maintain their anonymity. The Japanese House (or Amber Bain) is an exception. Bain first surfaced over a year ago, capturing the attention of many around the world with her cinematic, atmospheric 80’s-esque indie-pop. The success of début EP ‘Pools to Bathe In’ has been followed with latest offering ‘Clean’, a four track EP.

Similarly to ‘Pools to Bathe In’, ‘Clean’ is a lavish-sounding affair and enchanting throughout. Title track ‘Clean’ opens with scatty oriental-sounding synthesisers and clonking bells before unsettled percussion and a mesh of broken vocals carry the rest of the song. ‘Cool Blue’ is the E.P’s superlative track, beginning with gentle guitar riffs and melancholic, dreamy vocals. It evolves into an ’80’s-sounding synthpop track with shuffling percussion and gorgeous syrupy layered vocals. Like the rest of Bain’s work, it’s dreamy, atmospheric and enchanting.

‘Letter By The Water’ is more moody in tone and features gorgeous reverberating guitars and synthesisers amongst eerie sound effects representing water. It’s a little heavier than the first two tracks but still hugely enjoyable. EP closer ‘Sugar Pill’ utilises sombre piano chords before launching into an electro track abundant with jittery synths and stuttering percussion.

An enthralling and endearing E.P; a reinforcement that The Japanese House are only just beginning…

Rating: 4/5.

‘Clean’ is available now.

Little Mix – Get Weird Album Review

November 9, 2015 MarcyB0yLeave a comment

Since their formation in 2011, Little Mix have undeniably taken the world by storm. They have sold five million singles and 2.5 million albums worldwide, overtaken The Spice Girls to become the first girl group to reach Number Four on the US Billboard chart and have become one of Simon Cowell’s most viable X Factor products. Not bad in the slightest for a manufactured girl band whose origins lay in the X Factor.

‘Get Weird’ largely follows the same successful formula as previous albums ‘Salute’ and ‘DNA’, on which a team of A-list songwriters are recruited to assist in the creation of a fierce pop album promoting girl power. The difference here is ‘Get Weird’ provides more scope by utilising doo-wop and 80’s synthpop influences – experimenting with a new sound.

Lead single ‘Black Magic’ opens the album triumphantly and despite its over-exposure, it is still a piece of pop perfection. Likewise, ‘Weird People’ replicates 80’s pop, utilising funky bass lines, catchy guitar riffs and heavily gated percussion. ‘Love Me Like You’ rather bizarrely mirrors ABBA and the material of StooShe featuring catchy ‘sha-la-la-la’ hooks and polished brass instruments whilst ‘A.D.I.D.A.S’ features doo-wop influences with elements of R&B.

The album’s softer moments provide a breather from the cheerleader exuberance and punctuate the album nicely. ‘I Love You’ is a gentle pop ballad featuring breathy, lovely layered harmonies whilst ‘Love Me or Leave Me’ is a pleasant piano ballad with powerful vocals. ‘Secret Love Song’, a duet with Jason Derulo fails to impress, however. Derulo’s auto-tuned wailing is unnecessary and is largely responsible for the track being one of the weakest points in the album.

Elsewhere, the album ventures into hip hop territory. ‘OMG’ sounds like a Chris Brown out-take and features meticulously programmed bass lines and synths whilst ‘Lightning’, a stand out track is rife with manic distorted synthesiser drops.

The album swings from 80’s Pop to Hip hop to Sixties Doo-Wop and this results in a confused affair at times. Whilst variety is welcomed, it’s rather manic which results in its inconsistency. Had it stuck with the 80’s Pop ‘Girls Just Wanna Have Fun’ theme exhibited so effortlessly on ‘Black Magic’, it would have been far more successful. Instead, it seemingly recycles the formula from previous two albums and whilst it is a step up from them, it lacks innovation.

An overall enjoyable pop album but one which falls short of its potential.

Rating: 3/5

‘Get Weird’ is available now on Syco/Columbia records.

Seal – 7 Album Review

November 9, 2015November 9, 2015 MarcyB0yLeave a comment

Since his emergence in the early nineties, Seal has been on a musical roller-coaster passing through a series of hit and misses. The focus has seemingly always been on album content and album positions over hit singles (last Top 10 hit was signature track ‘Kiss From A Rose.’) Over the years this has become more and more the norm, particularly regarding older artists and acts. Still, it’s Seal’s forte – the ability to create polished albums with quality tracks from start to finish.

‘7’ is a return to Seal of the nineties and largely replicates the dark R&B style explored on the 1998 ‘Human Being’ album. In many ways, it’s the antithesis to previous album of original material ‘Commitment’; an album of Seal testifying his love for then-wife Heidi Klum. ‘7’, on the other hand addresses the breakdown of their marriage. Musically, it utilises Seal’s three signature genres – soul, dark R&B and electronica which does slightly obscure its direction and purpose. Overall, however, it is a pleasant amalgamation of tracks.

Album opener ‘Daylight Saver’ is an eerie ballad framed by dark vocoder driven acapella vocals, lush string arrangements and electro elements. ‘Padded Cell’ is Seal’s darkest track since the 90’s and is rife with pitch-lowered spoken vocals, distorted synths, fluttery electro elements and reverberating percussion whilst ‘Do You Ever’ borrows elements of soul to make it lighter in nature.

As always, the ballads are particularly emotive and luxuriant in nature. Lead single ‘Every Time I’m With You’ is a gorgeous piano driven ballad featuring gentle guitar strums, panoramic orchestration and organic piano chords. Whilst it lacks the levels of enchantment signature track ‘Kiss From A Rose’ exhibited, it’s very much in the same vein and is a lovely track. ‘The Big Love has Died’ utilises waltz-like piano arpeggios and lavish strings building up to a dramatic orchestra-driven song whilst ‘Half a Heart’ is a step back to ’70’s ballads. Closing track ‘Love’ is by far one of the stand-outs on the album where Seal’s signature raspy vocals soar above lush tinkling pianos and gentle synths. Stripped of any over-production, it concludes the album beautifully.

The most dance-influenced track on the album, ‘Life on the Dancefloor’, feels more like clubbing for the over forties (it lacks any electro-pop/house influences and instead utilises brass instruments and piano riffs) than a reflection of the current club scene. Nevertheless, it’s catchy and polished with Trevor Horn’s sleek production which makes it one of the best moments on the album.

Whilst it’s not as sturdy as 2010’s ‘Commitment’, the return of Seal’s original material after two cover albums is warmly welcomed. Likewise, the reunion between Seal and long-term collaborator Trevor Horn is a winning combination; Horn adds invigorating production to the whole affair.

An enjoyable album featuring an eclectic range of genres.

Rating: 4/5.

‘7’ is out now on Warner Bros records.