It’s September which means it’s time for the September mixtape!
We’d have loved to have included some material from Frank Ocean’s ‘Blonde’ album but unfortunately it is not available to share. Still, here’s twenty tracks we have been loving listening to in this past month.
Here’s February’s mixtape!
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.
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.
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
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.
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.
Funky disco-themed neo soul track from New York City duo Lion Babe.
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.
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
Catchy, jittery and squeaky pop track by American singer and producer Dawin featuring a rap from Silento.
Ex member of The Wanted Tom Parker impresses on this catchy house track which he has also produced.
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.
‘Delirium’ is available now on Polydor records.
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.
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.
https://www.youtube.com/watch?v=y6YVnl83IWQ
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.
https://www.youtube.com/watch?v=JhierzQiLcs
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.
https://www.youtube.com/watch?v=UZ3D4dOnZ_4
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.
Wednesday saw the 34th Brit Award Ceremony take place at the 02 arena and broadcast live across the world for the first time. Here’s my take on the events of the evening.
The Brits 2014 saw a massive drop in ratings – 2 million less people than last year. Yet, in my opinion, the 2014 Brits were a million times better than last year’s rather dull affair. Bizarre acceptance speeches, electric performances, dodgy jokes and self promotion riddled this years ceremony but in a way that made fantastic entertainment. The Brits has a reputation for generating and attracting controversy but that’s part of what makes it so endearing.
James Corden did a wonderful job of presenting once again, moving the show along nicely aided by a few funny gags and some spontaneous quips (a selfie with Prince and a pinch of a member of the Arctic Monkeys’ bum were particular highlights). Whilst not everyone was equally pleased with some of his remarks, I think James was awesome once again and I will greatly miss him hosting The Brits. He’s not overly controversial, a great guy, loves his music and funny with it. I hope whoever is lined up to present next year’s Brits will be able to bring something original to the table.
Performance-wise, whilst this year’s list of performers perhaps looked a little dull on paper, there were some great performances. Katy Perry delivered a theatrical Egyptian-themed performance of new track ‘Dark Horse’, which, despite the song not being her strongest release, managed to entertain. Bruno Mars took to the stage to sing the fantastically catchy ‘Treasure’ in which, whilst being an amazing performance, one must question whether this was a performance by Bruno or by The Bruno Mars band. There was very little solo by Mr Mars himself, instead, he was joined by an assemble of men to the point it rather looked and sounded like a Boyz II Men super-group on-stage. Beyonce appeared in a stunning, sparkly green gown to perform powerful new single ‘XO’. Disclosure managed to significantly improve incredibly scary Lorde’s ‘Royals’ by transforming it into a house track and Pharrell Williams gave a great rendition of ‘Happy’ with a little help from funk royalty Nile Rodgers.
As for the awards themselves, there were no major surprises. Daft Punk inevitably collected ‘International Group’ award after an amazingly successful year. Rudimental took home a gong for club-crazy ‘Waiting all night’ for Best British Single. One Direction won an award for a seemingly tailored-just-for-them ‘Brits Global Success Award’ in addition to ‘Best British Video’. Whilst many ridicule them, the lads certainly deserved these awards, particularly the latter, although there wasn’t any strong competition as the other Video nominations were incredibly weak and unoriginal. At least ‘Best Song Ever’ was unique, comedic and well-written/directed. Arctic Monkeys also took home two awards for Best British Group and Best British Album whilst Best British Breakthrough Act went to Bastille. Lorde appeared rather creepily onstage again to collect International Female Solo Artist whilst Bruno Mars received the male equivalent. Best British Female artist was won by Ellie Goulding whilst Best British Male was deservedly won by David Bowie.
What was perhaps most interesting this year were the presenters of the awards and the acceptance speeches. Pop royalty Prince appeared with new band 3RDEYEGIRL which was really awesome, Katy Perry returned onstage to present an award, Tinie Tempah was rather oddly paired with Fearne Cotton, Emeli Sande couldn’t keep away from The Brits, Pharell and Kylie, Jimmy Carr, glamour model Rosie Huntington-Whiteley, Lily Allen, Cesc Fabregas and Nicole Scherzinger, Grimmy (who passionately snogged James Corden on live telly) and Noel Gallagher. We were subjected to excessive plugs of new releases and dresses and suits for the ceremony. A confused Lily Allen struggled to comprehend her role whilst Jimmy Carr attempted three feeble jokes after which the silence was deafening. Katy Perry asked the audience if they would be attending her tour later this year to which she received a wall of silence. Kate Moss accepted David Bowie’s award on behalf of the man himself, reading a witty speech he had written in which he managed to somewhat randomly incorporate his political views (‘Stay with us Scotland.’) A rather drunk and/or stoned Alex Taylor slurred through an egocentric rant on ‘Rock n roll’, looking as if he wished to be anywhere but there.
The issue is, whilst this was all great in the name of entertainment, it just reinforced the view of many. That The Brits is less about the music and more about self-promotion and entertainment. Few of the acceptance speeches were genuinely thankful, many highly successful artists were overlooked in nominations and quite frankly, some of the song nominations were bizarre.
There is no denying that it was an entertaining show, however and a drastic improvement on last year’s bore. So, another year, another Brits over. I already look forward to next year’s!
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