Here’s the mixtape for June! 20 songs old and new that we’re loving at The Music Box.
Tag: album
Prince – 20 of his Best
1) Raspberry Beret
Brilliant psychadelic pop track from Prince’s 1985 ‘Around The World in a Day’ album. Live instruments such as sweeping strings, acoustic guitar strums and Middle Eastern Cymbals form the backdrop whilst Prince’s almost-spoken vocals perform the narrative. Beck’s live cover is included below due to Prince’s copyright associates re-emerging to make his music impossible to find online once again.
https://www.youtube.com/watch?v=3JJw9xwdjW4
2) Pop Life
Psychaedlic, funky pop track, also from 1985’s ‘Around The World in a Day’. Eeerie, detuned synthesisers howl over a tinny piano sound, fierce percussion and a tight bass line.
https://www.youtube.com/watch?v=yBKikjTHo-g
3) The Most Beautiful Girl in the World
Schmalzty, soulful and superb; Prince at his best. Written for then girlfriend (and future wife) Mayte Garcia, this was to amazingly be his only UK Number One single. His vocals are flawless throughout, mainly performed in a stable falsetto but occasionally drifting into a rich baritone.
https://www.youtube.com/watch?v=qzmFlr6xRcA
4) Somewhere Here on Earth
Prince’s impeccable falsetto vocals drift over futuristic synthesisers, a saxophone and twinkling pianos on this gorgeous slow-jam-influenced jazz ballad. Prince always possessed the ability to straddle various genres of music and this is a reminder of his impeccable ability to do so successfully.
https://www.youtube.com/watch?v=jAluL631Ygk
5) Sometimes it Snows in April
Absolutely stunning ballad which closes his 1986 ‘Parade’ album perfectly. Performed in just one take, it’s beautifully raw – you can hear the squeak of the piano stool, the odd vocal imperfection and the organic sound of a live acoustic guitar and piano. The song has become all the more poignant since his death and is now largely considered by many fans as a eulogy written by the man himself thirty years too early. Lyrically, it covers the death of Christopher Tracey, the main character from Prince’s film ‘Under the Cherry Moon’ and with lyrics such as ‘I used to cry for Tracey cos he was my only friend, those kinda cars don’t pass you everyday’, it truly is beautiful.
https://www.youtube.com/watch?v=1X0LYVZm5qc
6) Let’s Go Crazy
One of Prince’s signature tracks, the fantastically rousing ‘Let’s Go Crazy’ is the opening track to Prince’s 1984 album and film of the same name ‘Purple Rain’. Growling guitars and signature 80’s synthesiser shimmers drive this piece of pop heaven.
https://www.youtube.com/watch?v=g3ebPrVf4go
7) Guitar
Seemingly an attempt to mirror the success of earlier guitar-heavy tracks such as ‘Let’s Go Crazy’, ‘Guitar’ is one of Prince’s more underrated album tracks. Taken from 2007’s ‘Planet Earth’, it features an incredible guitar riff which is prominent most of the way through the track.
https://www.youtube.com/watch?v=dgPjINdENAk
8) My Computer
Widely criticised by many fans and critics alike, many overlook how clever and ahead of its time this song was. Lyrically documenting a loner browsing online for company, it’s somewhat sad yet its funky R&B track and glitchy computer sounds lifts its spirits. Also features the incredible Kate Bush on backing vocals.
9) Somebody’s Somebody
Prince always had the ability to make the best slow jams. This is one of his most underrated from 1995’s ‘Emancipation’. Released in the midst of great media interest relating to his battle with his record label, his name change and relationship with Mayte, ‘Somebody’s Somebody’ got somewhat lost as a track in Prince’s discography. Despite this, it’s one of his best; a moody R&B ballad which encapsulates the loneliness of 2am perfectly.
https://www.youtube.com/watch?v=v6zDFBwsXBc
10) When We’re Dancing Close and Slow
Sometimes there is no need for polished production, excessive instruments, multiple chord changes or multi-layered vocals and this track emphasises this. An absolutely stunning ballad from Prince’s self-titled second album, this track utilises only two chords, created by gentle acoustic guitar strums and twinkling pianos. By its finale, eerie synthesiser sounds creep in to make it way ahead of its time, something else Prince always managed to do in his career.
https://www.youtube.com/watch?v=b4xrNUxuanw
11) Starfish and Coffee
Not to be taken too seriously, this quirky but brilliantly catchy piano pop track was featured on critically acclaimed “Sign O’ The Times” before being featured in an episode of The Muppets. Simple, sweet and happy.
https://www.youtube.com/watch?v=bW7Js9I9tRs
12) Gold
Clearly proud of this song upon its release, Prince hailed it as the next ‘Purple Rain’. It did not achieve status as one of Prince’s best known but fared relatively well on the charts. It’s a great Pop track with meaningful lyrics and a catchy refrain.
https://www.youtube.com/watch?v=mwB6C1BWmqQ
13) She’s Always in My Hair
Whilst never appearing on a Prince album (except for a Greatest Hits compilation), ‘She’s Always in My Hair’ became one of Prince’s best-loved songs. A fierce rock and roll track complete with guitars, staccato organs and a great beat.
https://www.youtube.com/watch?v=Y3Z3c5RmWfI
14) I Would Die 4 U
Another track from both the film and accompanying soundtrack ‘Purple Rain’, this is Prince at his best. Unsettled percussion and multi-layered synthesisers perform its backing track whilst Prince delivers an energetic vocal delivery.
https://www.youtube.com/watch?v=_qpOI92q6EU
15) I Wanna Be Your Lover
Infectiously catchy disco-stomper; the epitome of 70’s disco music. Taken from second album ‘For You’, it is one of the first Prince tracks to showcase his brilliant falsetto vocals, a trait which would be featured in many of his latest works.
https://www.youtube.com/watch?v=RN6mDCEB6vY
16) Dinner with Delores
Perhaps Prince’s most underrated song, this gentle pop-rock/country-influenced track was the only single from 1996’s ‘Chaos and Disorder’. The album was released simply to fulfil Prince’s contractual obligations with Warner Brothers in the midst of their infamous feud, yet it contains a strong collection of Prince tracks. The track’s instrumentation is gentle and sweet yet upon closer inspection, the lyrics have a darker and more sexualised tone.
https://www.youtube.com/watch?v=A9_aauED3Ys
17) Anotherloverholenyohead
Another brilliant track from the ‘Parade’ album. An introduction of wailing guitars and impatient percussion evolve into a catchy funk-rock track which is based around a piano chord sequence.
https://www.youtube.com/watch?v=KExTY9k_gj4
18) I Wish U Heaven
A joyful and spiritual single from ‘Lovesexy’. In-keeping with the album’s uplifting, religious tones, ‘I Wish U Heaven’ features elements of rock, pop, dance and gospel. Quirky production elements and Prince’s gorgeous falsetto vocals make this one of his best, yet most underrated works.
https://www.youtube.com/watch?v=ObzoKryyAi8
19) Diamonds & Pearls
Uplifting rock ballad which features New Power Generation member Rosie Gaines sharing vocals with Prince. Unlike a lot of Prince’s work which focussed on lust and sex, this ballad instead refreshingly explores love itself.
https://www.youtube.com/watch?v=bZCfu18lSl4
20) Purple Rain
Of course, this playlist would not be complete without Prince’s signature track. And what a song this is. It’s easy to classify songs as huge as this as ‘overrated’ but this gorgeous Rock ballad lives up to its reputation as one of the best ballads of all time. Recorded live at a benefit concert, it was later added to in the studio and became the track loved by all today. It was to become a staple of Prince’s live shows, perhaps its most notable moment was at the Super Bowl XLI’s half time show when it was performed during a downpour.
Prince once explained the meaning of “Purple Rain” is as follows: “When there’s blood in the sky – red and blue= purple… purple rain pertains to the end of the world and being with the one you love and letting your faith/god guide you through the purple rain.”
https://www.youtube.com/watch?v=0ABd-cCcIxk
R.I.P Prince. We love and miss you.
Raleigh Ritchie – You’re a Man Now, Boy Album Review
If you aren’t already familiar with Raleigh Ritchie (real name Jacob Anderson) in terms of music, chances are you’ll have encountered him as an actor. He has developed a name for himself starring in various high-profile roles over the last four years including Omen in the film Adulthood, Grey Worm in Game of Thrones and Dean Thomas in Broadchurch. He is now in the process of building a whole new side-career for himself as a singer-songwriter, set off to a promising start by single ‘Stronger than Ever‘ which has become something of a staple as dramatic background music on reality television in addition to receiving much airplay on the likes of Radio 1.
‘This is no p***-take’, sings Anderson on ‘Never Been Better‘. Indeed, ‘You’re a Man Now, Boy’ is a determined and well-crafted album which avoids filler album tracks, resulting in an intriguing album from start to finish. It’s an album which explores the pertinent and stimulating themes of confusion, depression and vulnerability through the on-trend genre of alternative R&B. Threaded together by sweeping strings, brass instruments, simmering synthesisers and fierce live percussion, it’s dramatic, bold and powerful, delving into elements of R&B, Soul, electronica and hip-hop.
The likes of ‘Stronger than Ever‘, ‘Bloodsport‘ and ‘Never Been Better‘ are explosive and emotive works which showcase Anderson at his best, featuring thunderous percussion and sweeping strings not dissimilar from Massive Attack’s ‘Unfinished Symphony‘. They are bold and soulful, breaking out from the norm yet remaining contemporary.
Elsewhere, the album possesses a lighter tone which punctuates the album nicely. Quirky and de-tuned synthesisers skip playfully on ‘The Greatest‘ and ‘A Moor‘ whilst Anderson’s love of hip-hop is evident on ‘Cowards‘, a buoyant track abundant with frolicking samples, programmed percussion and a gorgeous neo-soul middle-eight. Likewise ‘Young & Stupid‘ addresses the naivety and recklessness of youth through lyrics such as “I’ll be a star, I’ll be the boy who lived, Taking my car and driving it off the bridge” over hip-hop piano riffs. Then there’s the catchy dance-R&B of ‘Keep It Simple‘, a breezy collaboration with grime act Stormzy which provides some much-needed light relief.
The album is closed perfectly with the tender ‘The Last Romance‘, a mellow R&B ballad which documents an ‘us against the world’ relationship over driving, barely audible percussion, soulful layered vocals and gliding keyboards.
Anderson’s vocals aren’t necessarily the most powerful, yet they are a perfect match for the rich and luscious soundscapes featured here and at times are blissfully soulful.
As the album comes to a close, it is evident that the album is worth far more than its #32 position in the UK album chart. It may not be perfect, but it’s sturdy, compelling and fantastically-written, addressing powerful themes through contemporary alternative-R&B. Most importantly, it is an album with soul and a personality – a rare feat in today’s music.
Rating: 4/5.
Highlights: Stronger than Ever, Bloodsport, Keep it Simple, Never Been Better, Cowards, The Last Romance.
‘You’re a Man Now, Boy’ is available now on Columbia Records.
Rihanna – Anti Album Review
Artists are often wary of the potential ‘difficult second album’, being unsure of which musical direction to take and fearing not meeting the public’s expectations. In Rihanna’s case, it was to become the difficult eighth album. Throughout its construction, ‘Anti’ was plagued with issues regarding creative control, during which a great wealth of material was recorded and subsequently scrapped. Three successful singles were released in 2015; none of which are present on the album. Kanye West was once executive producer; Rihanna herself ended up assuming the role. What began as a short hiatus extended into a lengthy break for Rihanna as the release of ‘Anti’ became increasingly delayed and arguably, one of the most highly anticipated albums in years.
The finished product is a significant departure from the club bangers and massive Pop smashes Rihanna has become known for. It’s a moody and sullen affair, (not too dissimilar from 2009’s ‘Rated R‘) more a soundtrack for the aftermath of the party or the early-morning come-down than the party itself. This isn’t a criticism, however, it’s a powerful and compelling listen from start to finish.
Opener ‘Consideration’ is a dub-styled track with lo-fi elements, sparse production and Rihanna’s almost yodel-like vocals. The minimalistic production is a thread which is present throughout the remainder of the album, its simmering, dark tones resulting in a dark but enthralling album. ‘Needed Me’ is much in the same vein, comprised of unstable beats, tremulous synthesisers and eerie vocal samples. Lead single ‘Work’, a collaboration with Drake is a jittery reggae-influenced affair with mumbled, almost incomprehensible vocals whilst ‘Woo’ is abundant with furious distorted electric guitars and auto-tune soaked vocals.
The down-tempo softer moments also work well. ‘James Joint’ is a minute-long melodic soul interlude whilst ‘Yeah I Said It’ is a sulky soul ballad with mesmeric production. The inclusion of “Same Ol’ Mistakes”, an unexpected cover of Australian rock band Tame Impala’s ‘New Person, Same Old Mistakes’ is an unconventional move but one which pays off. It’s a more or less carbon copy of the original both in its delivery and production but is in-fitting with the moody, psychedelic nature of the album.
The second half of the album is reserved for ballads. From the pretty and acoustic-driven ‘Never Ending’ to the Soul infused, waltz-like ‘Love on the Brain’, it’s a peculiar turn in direction but largely works nicely until ‘Higher’, on which Rihanna wails like a banshee in a style not too dissimilar to Sia. Thankfully the track is only two minutes and avoids putting too much strain on the listeners’ ears (and Rihanna’s vocals…)
Whilst ‘Anti’ is certainly a change in direction, elements of Rihanna’s signature sound are still littered throughout. ‘Desperado’ is a classic Rihanna track, dark and broody on which, stuttering beats, moody piano chords and Rihanna’s purred vocals result in an intoxicating R&B hit. Likewise, ‘Kiss it Better’, heavily influenced by progressive R&B and rock elements is one of the album’s highlights.
Closing track ‘Close to You’ is a stunning ballad and a fitting reminder of Rihanna’s impeccable ability to deliver heartfelt R&B ballads. Built of nothing more than gentle piano chords and Rihanna’s syrupy vocals, it’s perhaps her best and most emotive ballad of her career.
Its mixed response from critics and fans alike is justified. It’s a somewhat confused and indecisive album, mirroring its conception. Despite this however, its dark and disturbing tone and eclectic approach makes it a captivating album and one of Rihanna’s best.
- Rating: 4/5.
- Highlights: ‘Kiss it Better’, ‘Work’, ‘Desperado’, ‘Same Ol’ Mistakes’ and ‘Close to You’.
‘Anti’ is available now on Roc Nation records.
Music Monday – Volume Eighty Five
1) Nate Ruess – Brightside
Quirky yet utterly beautiful pop song which makes full use of Ruess’ idiosyncratic vocals over a backdrop of jazzy piano chords, squeaky string sections and eerie music box sounds. Dreamy and magical.
2) One Direction – History
Bittersweet Pop track which serves as a perfect ‘goodbye’ (at least for now) to fans. Considered by many as an update of Toy Story classic ‘You’ve Got A Friend In Me’, acoustic guitar strums and a sing-along Chorus make this a perfect Pop anthem.
3) Rihanna & Drake- Work
Rihanna returns with this laid-back reggae-pop track, aided by Drake. It’s rhythmic and catchy with Rihanna’s heavily auto-tuned vocals sliding effortlessly over clever production.
http://www.bbc.co.uk/music/clips#p03grqg5
4) Ellie Goulding – Army
Stunning synthpop track in the same vein as material on Goulding’s debut ‘Lights’. Over jittery guitar samples, crashing percussion and simmering synths, Goulding sings of her best friend.
5) Zayn – PILLOWTALK
Sexy and sultry alternative R&B track comprised of thunderous beats, eerie electro elements, broken vocal samples, wailing guitars and soaring melodies. It’s a far-cry from Zayn’s One Direction days and conveys a far greater depth of maturity, mostly through its sexual themes.
6) Lion Babe – Where Do We Go
Funky disco-themed neo soul track from New York City duo Lion Babe.
7) Taylor Swift – Out of the Woods
Dramatic synthpop track comprised of broken vocal samples, gated percussion and Swift’s almost whispered vocals. One of the highlights of Swift’s ‘1989’ album, it’s perhaps the best representation of the album, utilising scatty samples and ’80’s electro sounds.
8) Lawson – Money
Lawson return after a period of instability in terms of musical output. The release of the band’s second album has been repeatedly delayed but they are now preparing or its release in March. ‘Money’ is its lead single (excluding last year’s single ‘Roads’), a catchy pop-rock track in a similar vein to ‘When She Was Mine’ and ‘Brokenhearted’.
https://www.youtube.com/watch?v=eGgFZufBB20
9) Dawin – Dessert
Catchy, jittery and squeaky pop track by American singer and producer Dawin featuring a rap from Silento.
10) Tom Parker – Lost In Your Love
Ex member of The Wanted Tom Parker impresses on this catchy house track which he has also produced.
Coldplay – A Head Full of Dreams Album Review
In an astonishing twenty year career, Coldplay have exceeded all expectations to become one of the UK’s most successful exports. They’ve won eight Brit Awards, five MTV Video Awards, seven Grammy’s and sold over eighty million records worldwide, cementing their place as one of the world’s most successful acts. Once a quirky alternative-rock outfit unafraid of existing outside of the commercial market, Coldplay’s sound has grown with their popularity, becoming increasingly commercialised over the past five years. Fans first feared for the worst back in 2011 upon the release of ‘Mylo Xyloto‘, a concept album which was drenched in electro-elements and met with a mixed reception. Still, fans needn’t have worried for another four years.
‘A Head Full of Dreams‘ is the epitome of Pop music; a lively affair, full of catchy up-tempo tracks mawkishly coated in over-production. Whilst long-term collaborator Rik Sampson is still present, he has been demoted from production duties on this album, passing the baton to Norwegian Pop/R&B production duo Stargate, known for their work with Rihanna and Ne-Yo. Understandably, the result is an exuberant yet somewhat confused album on which Coldplay seemingly attempt to ditch their Rock-roots and transition into a Pop band. It’s the exact antithesis to previous album, the melancholic and ambient-influenced ‘Ghost Stories‘ and arguably, the entire foundation on which Coldplay built their career on.
Diversity is a likely focus on ‘A Head Full of Dreams‘, on which Coldplay attempt to branch out into various genres and sounds. Camp disco-stomper ‘Adventure of a Lifetime’ with its broken vocal samples and squeaky guitar riffs remains one of Coldplay’s best whilst the substantial, Hip-Hop heavy ‘Hymn for The Weekend’ – a duet with Beyonce – is comprised of tinkling piano riffs, hip hop beats and shiny brass instruments. These clever production elements all work nicely until ‘Army of One’, a ballad so bland, even clever production cannot reinvigorate it. Likewise, the track’s hidden feature ‘X Marks The Spot’ is an abortive Hip-Hop jam, best left to Martin’s close friends Jay-Z & Beyonce.
Despite its Pop approach, however, ‘A Head Full of Dreams‘ is still very much a typical Coldplay album. The signature Coldplay elements are still present; the anthemic Chorus’, wailing guitars, sweeping piano arpeggios and Martin’s pining vocals. The opening title track isn’t too far removed from the material on ‘Mylo Xyloto‘ albeit with a disco-funk groove. It’s a catchy opener abundant with the band’s trademark wailing guitars and is classic Coldplay, just with an extra sprinkle of Pop. Likewise ‘Fun’, a pleasant duet with Pop princess Tove Lo is more or less loyal to the band’s sound with distant guitar riffs, acoustic strums and Martin’s vocals warbling between his lowest and highest vocal range. The album’s finale and one of its highlights, ‘Up&Up’ is the band’s ‘Champagne Supernova’, just two minutes shorter. No surprise, then, that Noel Gallagher is guest guitarist on the track.
The hazy and tranquil interlude bridges between tracks – as present on the band’s previous two albums – also remain prevalent, the most enthralling being ‘Kaleidoscope’ which samples an Obama speech and clip of the president singing ‘Amazing Grace’. Furthermore, the dainty piano ballads are ever-enduring. ‘Everglow’ is gentle ballad on which ghost of Christmas past, Martin’s ex-wife Gwyneth Paltrow provides vocals on. ‘Amazing Day’ is one far superior, however and is one of the album’s highlights, built from elegant piano arpeggios and soaring melodies.
Whilst it’s far from their best work, ‘A Head Full of Dreams‘ is a compelling and enjoyable album; a reminder of Coldplay’s sustained presence in the music industry.
- Rating: 4/5.
- Album Highlights: ‘Hymn For The Weekend’, ‘Adventure of a Lifetime’, ‘Kaleidoscope’, ‘Amazing Day’, ‘Up&Up’.
‘A Head Full of Dreams’ is available now on Parlophone records.
Music Monday – Volume Eighty Three
1) Sia – Reaper
Australian songstress/hit songwriter Sia delivers a hot new Pop track co-written with none other but Mr Kanye West. Relatively jovial and laid back compared to Sia’s other works, this is a catchy chilled-out track with bizzarely, hospital-like beeping, rich harmonies and a seriously funky bass line.
2) Raleigh Ritchie & Stormzy – Keep it Simple
Raleigh Ritchie delivers another hit, this time aided with a rap from Stormzy. Warm synthesisers, Ritchie’s rich vocals and catchy dance beats carry this utterly brilliant R&B track.
3) Chairlift – Crying in Public
Cool, chilled-out synthpop track from American duo Chairlift. The care-free, minimalistic production and Caroline Polachek’s syrupy sweet vocals are perfect.
4) Birdy – Keeping Your Head Up
‘Keeping Your Head Up’ marks a significant musical departure for Birdy, best known for her haunting, heartfelt piano ballads. Channelling Foxes, ‘Keeping Your Head Up’ is a catchy dance-pop track full of hand claps, catchy piano riffs and an irresistibly catchy hook.
5) Frances – Borrowed Time
Co-written with Howard from Disclosure, this chilled-out house track mirrors 70’s Pop with lushly layered harmonies, rich gospel-like vocals and squeaky synthesisers. It’s a different side to Frances but one which works beautifully.
6) Dua Lipa – Be The One (Club Edit Remix)
Hot, idiosyncratic club record featuring a reggae-like bounce, clinking synths and a devilishly catchy chorus.
7) Prince – Baltimore
The King of Cool, Prince released ‘HitNRun Phase 2’ in December. This is its funky opening track featuring polished brass elements, raw acoustic guitar strums and a dirty rhythm, it’s Prince at his best.
8) Laura Mvula ft Nile Rodgers – Overcome
Chic legend Nile Rodgers lends his production to funky jazz/R&B fusion. Mvula’s pure, soulful vocals are perfect as always and lushly layered into a glorious wall of sound over Rodgers’ funky guitar riffs.
9) The 1975 – The Sound
The second single from The 1975’s upcoming second album ‘I Like it When You Sleep For You Are So Beautiful Yet So Unaware Of It’, ‘The Sound’ is a huge tropical-house influenced Pop track. Incessantly catchy with a brilliantly buoyant Chorus, it’s one of the funkiest and catchiest Pop tracks in a long time.
10) Allie X – Never Enough
Sultry electropop track with an insanely huge Chorus. Clearly influenced by 80’s Pop, it’s cool, brilliantly layered and an overall huge song.
Troye Sivan – Blue Neighbourhood Album Review
Every so often, an album springs from nowhere to challenge the public’s preconceptions of Pop music. Back in 2014, Taylor Swift’s ‘1989’ obliterated existing Pop music and marked the arrival of 80’s influenced electropop with Carly Rae Jepsen successfully following a similar formula a year later. Troye Sivan’s ‘Blue Neighbourhood’ is the latest album to do just that.
Whilst still unfamiliar to many, to those he is known by, Troye Sivan is adored. He is certainly a man of many talents. As an actor, he played young James Howlett in X-Men Origins: Wolverine in addition to starring in the Spud film trilogy. He is also a popular YouTuber with over 3.6 million subscribers. He has now turned his attention to singing and songwriting to become the latest music sensation.
‘Blue Neighbourhood’ is a fierce album abundant with squeaky synthesisers, delicate piano chords, intoxicating drops and spectral electro samples. Lyrically, it’s an album of adolescence, heartbreak and affirmation with an emphasis on sexuality.
Lead single ‘Wild’ is a bold album opener with an irresistibly catchy hook performed by a children’s choir. It’s a dramatic dream-pop influenced track which documents infatuation perfectly. The rest of the album follows in similar fashion: eerie vocal clips reverberating infinitely, Sivan’s vulnerable vocals and jittery percussion all forming a perfect electronic sound-scape well-balanced in both heartache and fun.
It’s often an album of contradictions: the solemn lyrical content the antithesis of the fuzzy electro tracks, Sivan’s pensive lyrics at odds with his age and lyrics such as ‘I’m just a lost boy, not ready to be found’ on ‘Lost Boy’. This forms part of the album’s success, however. It’s compelling from start to finish, with the right levels of rise and fall.
Many of its tracks are deceptive in nature, opening as tender piano ballads before evolving into jittery synthpop tracks. ‘Fools’ is a prime example, on which Sivan’s bruised vocals smother gentle piano chords before an electronic hook launches in. ‘Talk Me Down’ also begins softly before transforming into a reverberating and eerie ballad on which the lyrics address homophobia.
‘DKLA’ (Don’t Keep Love Around) opens with stunning eerie strings but evolves into a dark R&B/Trap-influenced track on which Sivan pines that he no longer ‘keeps love around’. It’s far more mature than the rest of the album and one of the highlights on ‘Blue Neighbourbood’.
‘For Him.’ is a more care-free, light-hearted addition to the album featuring staccato piano chords, kicking drum machines and funky guitar riffs. It breaks up the album nicely. Likewise, ‘Cool’ is a buoyant affair with dreamy 80’s-influenced synths, and a catchy, chilled-out Chorus.
One of the album’s stand out moments is ‘Youth’, a bouncy track, which at times is reminiscent of Lorde, with an electrifying hook formed of broken pitch-increased vocal samples. “My youth is yours”, Sivan offers, once again conforming to the naivety present in the rest of the album.
‘Suburbia’ is a fitting finale to the album, a symphonic and fluttery conclusion which, similarly to the album title, addresses compact neighbourhoods and adolescence.
Never has an album captured contemporary Pop so perfectly. It’s emotive and enthralling throughout; a perfect pop album.
- Rating: 5/5.
- Album Highlights: Wild, Fools, Ease, DKLA, Heaven, Youth.
‘Blue Neighbourhood’ is available now on EMI/Capitol records.
Kylie Minogue – Kylie Christmas Album Review
Every year, the arrival of November brings an influx of Christmas albums from a range of current artists, washed up stars and television personalities. Often cynically perceived as an attempt to cash in on the Christmas season, each year they appear to grow exponentially with anybody who fancies a pop doing so. Over the past five years, Michael Buble, CeeLo Green, Rod Stewart and hell, even John Travolta and Olivia Newton John have all given it a crack to mixed response. This year, it’s the turn of the Princess of Pop – Miss Kylie Minogue.
‘Kylie Christmas’ was always going to be an album subject to taste. It was never going to be the most credible of albums, yet somehow its camp, cheesy demeanour still surpasses expectations. An amalgamation of classic standards, big pop hits and the odd original track, it is well balanced but delivers mixed results.
Unsurprisingly, pizazz is present from the outset; it fizzes through the big band instrumentation of “It’s the Most Wonderful Time of the Year” and continues during note for note covers of “Winter Wonderland” and “Let It Snow.” The predictable inclusion of the flirty “Santa Baby” is perfectly matched to Minogue as is “I’m Gonna Be Warm This Winter”. Whilst they avoid straying far from the original tracks in term of style, they are faithful covers and work nicely.
Elsewhere, the album begins to buckle in places. Original tracks “Christmas Isn’t Christmas ‘Til You Get Here” and “White December” utilise the Motown ’60’s sound Mariah Carey captured so perfectly on “All I Want For Christmas Is You” but not quite to the same effect. They are both enjoyable, catchy tracks but are unlikely to become the next big Christmas standards. “2000 Miles” and “Only You” (a duet with James Corden) are both soaked in reverberation and sentimentality and fail to regain the original versions essence. Corden’s vocals are a revelation, however and are surprisingly sturdy. It is ‘Christmas Wrapping’, a cover of The Waitresses’ 1981 track, which is the worst offender, however and strays dangerously close to the Stock-Aitken-Waterman days. Featuring bizarre spoken contributions from Iggy Pop, what was presumably recorded as a ‘bit of fun’ has the adverse effect and is actually somewhat creepy, particularly when Iggy Pop begins growling “Merry Christmas” in the final minute. “Have Yourself a Merry Little Christmas” is also a mediocre interpretation which fails to capture the magic of the original.
Whilst “Everyday’s Like Christmas”, penned by Coldplay’s Chris Martin, is more or less ‘Liva La Vida’ recycled with additional shimmering instruments and modified lyrics, it is an enchanting, jittery synthpop track and is certainly a stand-out moment on the album.
Despite it being sugar-coated in over-production and cheesy-pop, ‘Kylie Christmas’ is a fun affair which successfully captures the spirit of Christmas.
An album which is the epitome of Christmas – extravagant, intolerable in places but a whole lot of fun.
- Rating: 3/5.
- Check Out: Santa Claus is Coming to Town (with Frank Sinatra), Everyday’s Like Christmas, Let it Snow, Santa Baby.
Kylie Christmas is available now on Parlophone/Warner Bros records.
Music Monday – Volume Seventy Eight
1) George Michael – Edith & The King Pin
Gorgeous jazz cover of Joni Mitchell’s 1975 ‘The Hissing of Summer Lawns’ album. George has always produced wonderful covers and this is no exception.
2) Anastacia – Left Outside Alone
Killer pop-rock track released eleven years ago (I know, I can’t quite believe it either!) Co-written by Anastacia with hit songwriters Dallas Austin and Glen Ballard, this was a huge pop hit upon release and remains a brilliant song.
3) Anastacia – You’ll Never Be Alone
Lovely, if slightly slushy, pop ballad by Anastacia. She truly is one of the most underrated pop acts in the world. What a voice!
4) Anastacia – Take This Chance
Uplifting and inspiring new track from Anastacia’s Greatest Hits compilation album. She’s still got it! Awesome song.
5) Carly Rae Jepsen – Tell Me
Carly Rae Jepsen’s debut album did not receive much attention upon release. I only came across it this week and fell in love. It’s different to the stuff she’s become well-known but each song is hugely enjoyable. This is a great acoustic-based ballad.
6) Carly Rae Jepsen – Sunshine on my shoulders
Lovely and relaxing cover of the John Denver track.
7) Carly Rae Jepsen – Worldly Matters
Another acoustic based pop track. The entire album is a hugely enjoyable listen – full of sunny & chirpy pop tracks.
8) Coldplay – Everglow
Classic Coldplay ballad but with greater electro elements. This is a promotional track for the band’s upcoming ‘A Head Full of Dreams’ album.
9) The 1975 – The Sound (Live)
MY GOD THIS IS GOOD.
Catchy as hell. I am SO ready for this next album.
10) The 1975 – Somebody Else (Live)
Cartchy 80’s-esque indie-pop track comprised of broken vocal samples, funky bass lines and slamming percussion. The 1975 at their best and a teasing insight into how the new album is going to sound.
the-music-box.co.uk 