Music Monday – Volume Seventy Six

MarcyB0yLeave a comment

1) Grimes, Bleachers – Entropy

Impossibly catchy indie-pop track on which American indie-pop band Bleachers team up with Canadian singer-songwriter Grimes. Minimalistic instrumentation is coated with Grimes’ syrupy and melodic vocals.

2) One Direction – End of the Day

Euphoric arena anthem which remains loyal to the boyband’s signature sound. Awesome track.

3) One Direction – Love You Goodbye

One Direction ballads are always exceptional and this is no exception. Taken from the band’s final (at least for now) album ‘Made in the A.M.’, this is emotive and heartfelt with catchy ‘hey, hey, hey’s’ and gorgeous  weeping electric guitars. One of their best tracks.

4) One Direction – Long Way Down

Lovely, gentle acoustic-based track from ‘Made in the A.M.’ It’s one of the more reflective tracks and the Chorus is rather low-key but this is part of what makes it so endearing. In places it sounds rather like Lady Antebellum and these Country elements work beautifully.

5) One Direction – What a Feeling

One Direction channel Fleetwood Mac on this ’80’s synthpop-influenced pop track. It’s one of the stand-out moments from latest album ‘Made in the A.M’ with funky guitar riffs and gorgeous, rich layered harmonies.

6) Ben Haenow – All Yours

Brilliant euphoric pop from last year’s X Factor winner Ben Haenow.

7) Ben Haenow – Testify

Epic gospel-influenced track from Ben Haenow’s début album. The drum loop is fierce and the gospel choir adds an extra depth to the track. It’s the best track on the album and is crying out to be a single.

8) Ben Haenow – Greatest Mistake

One of the stronger tracks Ben Haenow’s début album. The Chorus is incredibly catchy and his raspy vocals sound fierce on it. Great track.

9) Justin Bieber – Company

Sultry and irresistibly catchy pop track with a funky bass line & elements of tropical house. Bieber at his best.

10) Justin Bieber – Been You

Bonus track on the deluxe version of Justin’s latest album ‘Purpose’. Incredibly catchy electropop-influenced track more than strong enough to have been included on the standard edition of the album.

 

Justin Bieber – Purpose Album Review

MarcyB0yLeave a comment

justin-bieber-purpose-album-cover-560x560

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

MarcyB0yLeave a comment

one-direction-album

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

MarcyB0yLeave a comment

11904746_404046929785260_8125543784642506882_n

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

MarcyB0yLeave a comment

Get_weird

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

MarcyB0yLeave a comment

686567DC-FE83-A88B-E5D76CDB8116194F

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.

Music Monday – Volume Seventy Five

MarcyB0yLeave a comment

1) James Taylor – Walking Man

Gorgeous folk/easy listening track with gentle guitar strums.

2) Nothing But Thieves – Graveyard Whistling

Haunting and gorgeous track from one of the best bands currently around. Conor Mason’s vocals are incredible, particularly during the falsetto chorus and the track builds up to a dramatic climax.

3) Nothing But Thieves – Last Orders

Love the unique chords on this haunting track from the band’s ‘Graveyard Whistling’ EP.

4) Nothing But Thieves – Emergency

Another heartfelt and dark track from Nothing But Thieves. The falsetto chorus drowned in reverb in this is stunning.

5) Snow Patrol – How To Be Dead

6) Snow Patrol – Grazed Knees

7) Coldplay – Adventure of a Lifetime

Epic and eclectic disco track with amazing guitar riffs and a mesh of vocal clips. As has been the case on much of Coldplay’s material over the past four years, it’s another change in direction but one which works beautifully. Catchy and upbeat.

8) One Direction – History

Pleasant acoustic-based track from the band’s forthcoming ‘Made in the A.M’ album. A power-house middle eight breaks up the song nicely and it’s a great feel-good pop track.

9) Seal – Love

Stunning piano ballad which closes Seal’s latest album ‘Seal 7’ beautifully. Seal’s trademark raspy vocals soar gorgeously over gentle synths and lovely piano chords.

10) Ellie Goulding – Codes

Catchy track from Ellie’s latest album ‘Delirium’. It’s far more pop based than Goulding’s previous efforts but a track which works brilliantly.

Music Monday – Volume Seventy Four

MarcyB0yLeave a comment

1) Nothing But Thieves – Six Billion

Haunting and powerful track from Nothing But Thieves’ début album. Moody guitar riffs, front man Conor Mason’s Jeff Buckley-like vocals and eerie sounds result in a gorgeously endearing track.

2) Nothing But Thieves – Excuse Me

Euphoric opener to Nothing But Thieves’ début album. Haunting and gentle verses develop into an epic and powerful Chorus with gorgeous falsetto vocals.

3) Nothing But Thieves – If I Get High

Gentle guitar riffs and Conor Mason’s beautifully unique voice carry this track which ends with an epic climax.

4) Katy Perry – Mannequin

Witty and clever lyrics, quirky instrumentation; this is Katy Perry at her best. Before pop producers transformed her into a very different artist, this is the Katy Perry more should be familiar with – the singer-songwriter. Underrated track.

5) Ellie Goulding – Army

After the disappointing change of direction exhibited on previous single ‘On My Mind’, this beautiful ballad marks the return of the Ellie Goulding we all know and love. Dreamy synthesisers, reverberating vocals and crashing percussion are featured throughout and it’s a gorgeous song. Think ‘Love Me Like You Do’ Part II but less repetitive and irritating.

6) The Temper Trap – Sweet Deposition

Gorgeous and powerful indie-rock ballad.

7) Katy Perry – If You Can Afford Me

Another track from Katy’s début album ‘One of the Boys’, back in her singer-songwriter days. Clever lyrics and a brilliantly catchy pop-rock track.

8) Frances & Ritual – When It Comes To Us

Gorgeous and haunting ballad full of reverberating electro elements not too dissimilar from William Orbit’s work with All Saints. Both artists deliver beautiful vocal performances and this is is just incredibly beautiful.

9) Markus Feehily – Simple Love

Lovely and unique ballad from the ex-Westlife member. The sped up/altered pitch refrain in the chorus is quirky and works beautifully on this great track.

10) Markus Feehily – Only You

Gorgeous ballad from ex-Westlife member Markus Feehily’s début solo album ‘Fire’. It’s a little in the same vein as Westlife’s later work but an uplifting and beautiful song.

Markus Feehily – Fire Album Review

MarcyB0yLeave a comment

HRMY003CDX

There comes an inevitable point in the career of a boyband where members are eager to test the waters alone, free of the many musical and image restrictions boybands are lumbered with. Westlife enjoyed an immensely successful fourteen year career – one of the longest reigns in boyband history. During their career, they sold over fifty million records worldwide, achieved fourteen number one singles in the UK and released ten successful albums. Furthermore, Westlife were one of very few bands to survive the loss of a band member, successfully continuing a further eight years following Bryan McFadden’s departure in 2004. Whatever the mainstream perception, Westlife were without a doubt a sturdy and incredibly successful enterprise. Upon their departure in 2012, Shane Filan wasted no time in releasing solo material (presumably due to his well documented bankruptcy) to great success. Mark Feehily (or Markus Feehily as he is now known) on the other hand, took a brief hiatus before writing and recording his début album.

‘Fire’ is a dark, emotive affair; eleven tracks of sheer power. Whilst some moments are reminiscent of Westlife’s final album ‘Gravity’, overall it takes an experimental approach, resulting in a far more mature, contemporary and bold assortment of tracks than were ever found on any Westlife album. Feehily is finally able to spread his wings and thoroughly showcase his robust vocals. And that he does on ‘Fire’, from start to finish.

Album opener and lead single ‘Love is a drug’ is a dark track on which Feehily’s emotive vocals soar above sweeping ’60’s strings, a gospel choir and drum and bass influenced percussion. Evidently influenced by Massive Attack’s ‘Unfinished Symphony’, it’s a compelling opener and one which deserved to fare far better in the charts. Much of the album follows a similar formula. “I wish that life came with instructions”, Feehily croons on ‘Wash The Pain’, a track abundant with synthesisers, slamming percussion and reverberating vocals. ‘Cut You Out’ features moody guitar riffs, brass instruments, fidgety electro samples and rich gospel harmonies whilst  ‘Butterfly’ ventures into dance-pop territory and utilises a re-recording of Joni Mitchell’s ‘Big Yellow Taxi’. Considering Mitchell’s lyric ‘Don’t it always seem to go that you don’t know what you’ve got ’till it’s gone’ is perhaps one of the most sampled lines in history, ‘Butterfly’ is hardly innovative. It does contain admirable levels of fervency, however and is one of the album’s stand-out moments.

Elsewhere, the album comes close to entering Westlife territory but is overall avoided through enthralling electronic production and Feehily’s emotive lyrics. ‘Back To Yours’ is a stunning piano ballad on which Feehily gives his best vocal performance yet. It contains a vulnerability and enchantment Westlife could only have dreamed of achieving. ‘Love Me Or Leave Me’ is a driving pop-rock ballad featuring Coldplay-esque piano chords whilst closing track ‘Casablanca’ features tinkling pianos and gorgeous orchestration. As with any album, some familiarity is welcomed and therefore the most Westlife-like track on the album, ‘Only You’ is a tender and welcomed moment. A gorgeous pop-rock ballad comprised of gentle piano chords, soft acoustic guitars and Feehily’s incredible falsetto, it enables the album to breathe after the intensity of the darker material present.

The album’s only flaw is that it desperately lacks one or two tracks of a lighter tone. Whilst there are more up-tempo tracks featured, at times the intensity is in danger of becoming overbearing. Nevertheless, the personal nature of the album gives it consistency – a necessity on all of the best albums.

An audacious and personal album abundant with emotion.

Rating: 4/5.

‘Fire’ is out now on Harmoney Entertainment records.