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.
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.
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.
It’s tough to stay at the top. Very rarely does an artiste or band remain successful for the entirety of their career. Most encounter a fall from grace and are reduced to playing dingy clubs or worse still, hanging up their microphone for good. There are exceptions of course. Kylie, Madonna, Take That etc. have all proved their durability and continue to release top selling albums and sell out arenas and stadiums across the world.
Being a band whose peak lies in the distant past of the late 1980’s, Duran Duran are more than aware of the challenges of remaining relevant in a youth-obsessed industry. They quickly discovered a long and fruitful career lies in reinvention; through updating both sound and image but retaining identity. Over the past fifteen years, they have sought to remain current through collaborating with a diverse range of artists. Previous album, 2010’s ‘All You Need Is Now’ was produced by Mark Ronson whilst Timbaland and Justin Timberlake injected R&B/Hip Hop into 2007’s ‘Red Carpet Massacre’. Overall, these paid off; Duran Duran are still fortunate enough to perform to sold out arenas across the world.
‘Paper Gods’ once again serves as a who’s-who of Pop and enlists the assistance of a range of artists to contemporise the album. Kiesza, Janelle Monae, Nile Rodgers, Linsay Lohan, former Red Hot Chilli Peppers guitarist John Frusciante, Jonas Bjerre and Mark Ronson all feature in some way whilst the other half of the album allows the band to retrieve the glory. Production duties for this album are handed to Mr Hudson, best known for his solo album ‘Straight No Chaser’ and collaboration with Kanye West on ‘Supernova’ before seemingly vanishing. Hudson’s own material was largely influenced by 1980’s elecronica and synthpop, adding hip-hop beats to guarantee its relevance in the current industry. Duran Duran were no doubt one of his own influences and this is is where ‘Paper Gods’ becomes a rather confused affair. Is Duran Duran inspiring Hudson’s sound or vice versa? Either way, Hudson injects vibrancy, relevance and enchantment into the album, allowing them to maintain their identity and signature sound but with added flare and relevance to keep it bang-up-to-date.
Production aside, ‘Paper Gods’ is not far removed from Duran Duran’s signature material from the late 80’s. The tinny guitar riffs, anthemic choruses, chaotic chord progressions and Simon Le Bon’s sturdy vocals behind the band’s biggest hits are still littered all over the album. The difference here is, the presence of Mr Hudson who frolics around with as many vocal and sound effects as possible.
Much of the album is enjoyable. The album’s opener, title track ‘Paper Gods’ begins with an endearing acapella before launching into a bouncy new-wave track featuring the band’s trademark guitar riffs and Mr Hudson having a whale of a time tossing as many effects possible into the mix. The sombre tone of 1992 hit ‘Ordinary World’ is replicated in ‘Kill Me With Silence’, a track in which substandard verses are compensated for in the gorgeous chorus but finishes with an epic, eerie distorted guitar solo. Nile Rodgers, Mark Ronson and Janelle Monrae inject funk into ‘Pressure Off’, a track which attempts to regain some of the magic found in Ronson’s ‘Uptown Funk’ and Rodger’s ‘Get Lucky’. The band are greatly accustomed with Rodgers, he was responsible for some of their most successful material, and this is evident in the track. Rodger’s signature Chic-like guitar riffs, punchy bass lines and addictive melodies result in one of the album’s highlights. ‘Face for Today’ is an enjoyable breathy pop number whilst the chaotic chord progression in moody new-wave track ‘What Are The Chances’ results in an endearing and gorgeous stand-out moment.
It all gets rather Pet Shop Boys on ‘Danceophobia’, a track so flamboyant it’s difficult not to fear the emergence of Alan Carr at any second. Catchy it may be, but lazy lyrical content and a bizarre appearance from Lindsay Lohan appearing as a doctor result in it being rather deplorable. And that’s the album’s main fault; it tries too hard to please. It’s so full of funky production elements and chaotic chord progressions that there is never a moment just to let it breathe or to focus on the essence of each song.
It’s a sound album, overall and its bold, lively nature are certainly to be commended. Sometimes, however, less is more and ‘Paper Gods’ is just a little too effervescent.
Rating: 3/5.
Paper Gods is available now on Warner Bros Records.
The commercial music industry is a competitive market and one which hundreds of bands battle to break into, many in vain. Every now and then, however, a British rock band seemingly appears from nowhere and hits the big time. Armed with the support of BBC Radio 1 and a legion of fans, Nothing But Thieves are the latest band to do just that with their self-titled début album.
Since their formation in 2012, the alternative rock band from Southend-On-Sea (Essex) have been on a steady upward pilgrimage. In addition to their three EPs released sporadically over the past two years, the band’s single ‘Itch’ was featured by Radio 1 as track of the day. They also landed support act slots on tours by the likes of Arcade Fire, George Ezra and Muse. Not bad for three years work.
Eponymous début album ‘Nothing But Thieves’ is undoubtedly one of the best alternative rock albums of recent years. Aided by lead singer Conor Mason’s haunting, ever-endearing vocals and an anthology of durable rock anthems, ‘Nothing But Thieves’ is a delectable album from start to finish.
The album aims to please from the outset but without a hint of desperation. The influences are clear – Jeff Buckley, Radiohead and U2 moments are littered throughout the sixteen track LP but avoid detracting from the band’s idiosyncratic sound. The Jeff Buckley-esque ‘Excuse Me’ is a killer opener to the album, on which haunting verses evolve into an epic chorus with an incredible vocal performance by Mason. Likewise, ‘Ban All The Music’ is abundant with belligerent guitar riffs whilst the riffs used in ‘Wake Up Call’ mimic those in Pink Floyd’s ‘Dogs’. ‘Trip Switch’, the single release which largely propelled the album features an enormous stadium-rock anthem chorus, utilising the trip switch metaphor to signify the end of a relationship. ‘Hostage’ is abundant with wailing guitars and a killer hook whilst the hook in ‘Honey Whiskey’ features almost operatic vocal moments.
Elsewhere, the band convey a softer side on ballads which punctuate the album beautifully. Mason’s falsetto drifts effortlessly over gentle guitar strums on ‘If I Get High’, a ballad reminiscent of Radiohead which builds to an extravagant climax. Likewise, ‘Graveyard Whistling’ conveys a vulnerability rarely found in contemporary music. ‘Lover Please Stay’, one of the album’s highlights, is a gorgeous acoustic ballad on which Mason uncannily resembles Jeff Buckley; his falsetto vocals fluttering gently over lamenting guitars. It’s a track which really showcases his superlative vocals; every note is aching with sincerity.
It’s an album impossible to pick holes in, one on which album fillers and weak material is noticeably absent. Every song from start to finish is exceptionally written and produced, from its profound lyrics to its huge choruses and catchy hooks. Nothing But Thieves have created a masterful stadium-ready album; an outstanding début.
Rating: 5/5. Highlights: ‘Excuse Me’, ‘Trip Switch’, ‘If I Get High’, ‘Graveyard Whistling’, ‘Hostage’, ‘Lover, Please Stay’, ‘Hostage’.
‘Nothing But Thieves’ is available now on RCA Victor Records.
The transformation of a former Disney star into a mature, credible pop artist was never going to be a walk in the park. Many have tried: Vanessa Hudgens, Miley Cyrus, Hilary Duff (one of the more successful acts who somehow managed to also retain her sanity) with varying results. Attempting to crack the music industry is not a new venture for Selena Gomez; her voyage into the world of pop music has been in full flow since 2009. What is new, however, is her attempt to promote herself as a viable adult artist.
Selena Gomez came to prominence as an actress in the Disney channel series “Wizards of Waverly Place”, appearing in the show until its conclusion in 2012. She then formed her own band, Selena Gomez & the Scene, in the hopes of achieving a successful crossover into music. After releasing three moderately successful albums, Gomez announced the band would be taking a hiatus to focus on other projects. Presumably ‘other projects’ was a euphemism to obscure her desire to be a star in her own right. Début album ‘Stars Dance’ was rapidly released in 2013 to mixed reviews, most of the negative focus placed on the generic production.
‘Revival’ is largely a continuation into maturity for Gomez. The teeny pop anthems have been replaced by pop influenced by bouncy EDM, tropical beach house and an overall far more mature sound. Littered with overt sex references, at times it’s all rather forced as Gomez does everything in her power to dismiss her Disney image and substantiate her new-found maturity.
Overall, however, it works rather nicely. First track “Revival” opens with Gomez reciting a poetic passage prior to the arrival of resilient beats and tropical house synths. It’s a rather low-key introductory track but one which executes its purpose efficiently. “Hands to Myself” relies on minimal instrumentation, buoyant percussion and Gomez’s supple vocals whilst “Same Old Love” utilises moody piano riffs, hip-hop beats and Gomez’s honeyed vocals. “Sober” is reminiscent of some of Taylor Swift’s best work on ‘1989’, built around fidgety vocal samples, slamming ’80’s-esque percussion and jittering synthesisers. Sultry summer smash ‘Good For You’ maintains its ascendancy, abundant with sensuality, Gomez’s breathy vocals and assistance from A$AP Rocky whilst ‘Me & The Rhythm’ is a tropical-dance pop track built around catchy pop hooks and steel-pan-like sound effects. The album’s sole ballad ‘Camouflage’ is a stunning piano ballad; the album’s best fit for Gomez’s gentle vocals.
The album’s weaker points lie in the final three tracks. ‘Survivors’ attempts to break into a club-friendly pop sound but falls flat. ‘Body Heat’ utilises Latin rhythmical influences and Spanish guitar strums but lacks character whilst album closer ‘Rise’ is a disarray of electronic elements.
The main flaw with ‘Revival’ is that Gomez fails to stamp her identity on the pop world. Whilst refreshingly avoiding the mainstream 80’s-pop revival currently very much present in the UK Singles chart, there is no innovation or trademark sound that emerges from it.
A step in the right direction but with room for improvement.
Shura teams up with Mura Masa on this chilled-out EDM track. Mura Masa provides the instrumentation, utilising sounds reminiscent of pan pipes, orchestral strings and steel pans whilst Shura’s syrupy vocals are layered on top. A unique and enjoyable track.
2) Snow Patrol – Take Back the City
Epic driving rock anthem by alternative rock band Snow Patrol. Reportedly a testament of frontman Gary Lightbody’s love of Belfast, it’s an empowering track slightly reminiscent of ’80’s glam rock.
3) Janet Jackson – Broken Hearts Heal
Sugary sweet disco track which serves as a tribute to Janet’s brother Michael both lyrically and musically. Lyrical content addresses their growing up together and a more care-free phase. Musically, the track is heavily reminiscent of Michael’s catchy and soulful material on début solo album ‘Off The Wall’, particularly upon the emergence of bells during the final minute. Irresistibly sweet and catchy.
4) Janet Jackson – Take Me Away
Emotive and desolate track evidently about the aftermath of brother Michael’s death. Drawing upon electro-rock influences, it features an epic and grand chorus.
5) Daniel Bedingfield – Wrap My Words Around You
Brilliant and overlooked track by Daniel Bedingfield, released back in 2005 as the second single from his album ‘Second first Impression’. Gentle acoustic-based verses develop into a huge chorus.
6) Kate Winslet- What if
Gorgeous and emotive ballad written by Steve Mac and Wayne Hector (pop gurus responsible for material by the likes of Westlife and JLS). The song was written for and featured in the animated version of Charles Dickens’ ‘A Christmas Carol’. Upon Winslet’s request, all proceeds from the single went to the National Society for the Prevention of Cruelty to Children and Sargent Cancer Care for Children. It was largely successful, peaking at Number Six in the UK charts and still receiving airplay today.
7) Nothing but Thieves – Wake Up Call
Nothing But Thieves are by far one of the best bands currently around in the UK. Formed in 2012, they are a five-piece alternative rock band from Southend-on-sea in Essex. Front man Conor Mason’s vocals carry a gorgeous tone – powerful, unique and slightly eerily like Jeff Buckley. The contrast between Mason’s falsetto vocals and the heavy rock instrumentation in the chorus works beautifully.
8) Take That – Hey Boy
It’s back to the 80’s for the Take That lads with their incredible new single ‘Hey Boy’. Continuing the fun pop sound they explored on ‘III’ with the likes of Greg Kurstin, John Shanks, Stuart Price & Mattman and Robin, this is the lead single from the 2015 repackaged edition of ‘III’. The Nile Rodgers/Chic-like disco riffs return amongst stomping percussion, a funky bass line and rich harmonies.
9) One Direction – Perfect
From one boyband to another, this is the latest single from One Direction. ‘Perfect’ is a mid-tempo pop ballad which draws upon stadium-rock influences. Harry Styles presumably steers the song lyrically; most of the song appears to be a dig at ex Taylor Swift. It’s the most enjoyable of the material from forthcoming album ‘Made in the A.M.’ so far, an emotive and powerful pop track.
10) Nothing But Thieves – Lover Please Stay
Stunning, raw and emotionally charged ballad from Nothing But Thieves’ self-titled début album. If any other material by the band wasn’t enough to reinforce Conor Mason’s Jeff Buckley-like vocals, this track will affirm it. Utilising only gentle guitars and Mason’s powerful and aching vocals, this is music at its best.
Emotive and powerful electro-pop ballad with brutally honest lyrics. Produced by one of the hottest production duos currently around – Mattman and Robin, ‘Moments’ is abundant with crashing percussion, reverberating vocals and eerie sound effects. One of the hottest tracks around right now.
2) Tori Kelly – Should’ve Been Us
Pop perfection with hip-hop beats and a powerful vocal performance.
3) J. Tillman – Howling Light
Gorgeous folk ballad comprised of little more than guitars and organic instruments. It’s refreshing to hear music in its natural form, free of autotune and other programmable effects.
4) The Japanese House – Cool Blue
A gorgeous and gentle intro builds into a shuffling 80’s synthpop-esque track featuring pretty guitar riffs, spacey synthesisers and auto-tuned vocals. One of the hottest tracks in the world right now.
5) The 1975 – Love Me
Yet another pop track which reinforces the return of ’80’s pop. Abundant with detuned guitar riffs, squeaky synthesisers and gated percussion, The 1975’s comeback single is an explosive and effortlessly catchy affair. Healy’s vocals are the clearest they have ever been and the lyrical content is as witty and clever as always. A fine return.
6) Drake – Hotline Bling
Utilising both hiphop and trap, Drake’s ‘Hotline Bling’ heavily samples Timmy Thomas’ 1972 song “Why Can’t We Live Together”. It may be somewhat repetitive and Drake’s vocals may not be the most powerful but it’s effortlessly catchy.
7) Kanye West – Love Lockdown
One of Kanye’s best. The ‘808’s and Heartbreak’ album is often overlooked due to West’s attempt at singing rather than rap but it contains innovation and power that could never have been projected through rap. The song’s power lies in its minimalistic pop style – piano riffs, a Roland TR-808 drum machine imitating tribal percussion and West’s heavily autotuned vocals dominate this repetitive but catchy and powerful synthpop track.
8) Olly Murs – Kiss Me
Catchy pop track featuring a punchy bass line, ’80’s-eque synthesisers, funky bass riffs and an effortlessly catchy chorus. Just try to ignore the fact it is more or less a rip off of Nick Jonas’ ‘Jealous’…
9) James Morrison – Demons
James Morrison triumphantly returns with this powerful, eerie and beautifully sincere pop-soul track. The sped-up/high-pitched “I’ve got demons” refrain which opens the track and appears throughout is heavily reminiscent of Simon Webbe’s pop hit ‘No Worries’ and adds an extra dimension to Morrison’s gorgeous track. ”
10) Selena Gomez – Sober
Gomez wails over jittery synthesisers, reverberating percussion and spacey vocal effects on this great pop track.
There are few artists that are fortunate enough to have experienced the longevity in the music industry that Janet Jackson has. Even more remarkable that she has consistently avoided living in the shadow of superstar brother Michael, demonstrating her own art is substantial enough to maintain her super stardom.
“It’s been a while, lots to talk about, I’m glad you’re still here”, Janet murmurs thoughtfully at the end of opening track ‘Unbreakable’. Indeed, it’s been seven long, eventful years since Janet’s previous release of original material. 2008’s ‘Discipline’, whilst selling moderately, grossly under-performed in terms of single positions and legacy. It was, however, an improvement from 2006’s ’20 Y.0′, slammed by music critics, particularly for the involvement of Jackson’s then boyfriend Jermaine Dupri. Since ‘Discipline’, Jackson encountered the unexpected death of brother Michael from cardiac arrest; an event which sent tremors around the world. She separated from Dupri after a seven year relationship in 2009 and married third husband Wissam Al Mana in a private and secretive ceremony in 2012. It is these events which largely form the lyrical content of the album.
‘Unbreakable’ marks the return of legendary producers Jimmy Jam and Terry Lewis – fixtures of Jackson’s music since her tentative beginnings back in the late 1980’s. They were noticeably absent on previous album ‘Discipline’ and it is their innovative production on this rich synthesis of R&B, dance and pop music in addition to Jackson’s sincere and hugely personal lyrical content which brings the album alive.
Title track ‘Unbreakable’ opens the album beautifully with gentle piano riffs, jittery electronic samples and organic brass instruments. It’s a joyous track and the perfect album opener. ‘The Great Forever’ is a sullen affair featuring beeping computer programming, a shuffling beat not dissimilar from brother Michael’s 1988 hit ‘The Way You Make Me Feel’, and Jackson’s signature syrupy layered harmonies. The somewhat disjointed ‘Shoulda Known Better’, a follow up to Jackson’s hit ’80’s single ‘Rhythm Nation’ begins tentatively as a ballad before launching into an EDM-influenced track. Disappointingly, it never quite quite reaches the heights it could and is crying out for a more predominant bass line. Despite its flaws in production, it’s one of the album’s highlights, a socially-concious, politically themed and powerful track.
The album achieves contemporary appeal through its utilisation of dance/R&B music. ‘Dammn Baby’, is an R&B track abundant with fierce bass lines and robotic auto-tune whilst Missy Elliot collaboration ‘BURNITUP!’ is another club friendly R&B track. Jackson, Jam and Lewis use 1993’s ‘That’s The Way Love Goes’ as a template on lead single ‘No Sleeep’ – a sultry and gentle R&B jam. ‘Take Me Away’ is another of the album’s highlights; another ferocious and powerful EDM track perfectly programmed by Jam & Lewis. Jackson’s vocals are once again layered blissfully to create a gorgeous wall of harmony and the chorus contains a heartbreaking vulnerability.
Vulnerability is captured further in more tender moments on ‘Unbreakable’. ‘After You Fall’, a gorgeous piano ballad stripped of the effects the rest of the album is laden with is a tender and beautiful moment. Likewise, the album is well-punctuated by ‘Lessons Learned’, comprised of gentle guitar arpeggios and Jackson’s angelic vocals. The disco-influenced ‘Broken Hearts Heal’ is a tribute to brother Michael, reminiscing their childhood growing up together whilst utilising the smooth and soulful sound Michael exhibited on his ‘Off The Wall’ album. It’s refreshing to hear Jackson return to some of the fun previously contained in previous hits ‘All For You’ and ‘Runaway’ and another of the album’s highlights; a gentle R&B groove reminiscent of some of Jackson’s best work in the 1990’s. “Black Eagle” is a soulful affair with bongo-like percussion and detuned, twinkling synthesisers whilst ‘Well Travelled’ is a powerful arena-rock anthem, breaking into new territory for Jackson.
At forty-nine, Jackson’s voice is naturally deeper than previously which somewhat disconcertingly makes her sound more like Michael than ever. The angelic and breezy tone to her voice remains, however and the alluring nature of her voice still trumps many female artists around today.
‘Unbreakable’ is concrete verification that Jackson is back to regain her status as the Queen of Pop. A rich fusion of genres with compelling production by Jimmy Jam and Terry Lewis, it’s her most substantial album since 2001’s ‘All For You’. A triumphant return.
Rating: 5/5.
‘Unbreakable’ is out now on Rhythm Nation/BMG Records.
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