Tag: music journalist

Shura – Nothing’s Real Album Review

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It’s been over two years since Shura’s ‘Touch‘ became an internet sensation for its gentle, airy tones and simple, yet endearing video which featured her and her friends kissing, regardless of gender. Follow up tracks ‘Indecision‘ and ‘2Shy‘ simply amplified the buzz  which resulted in Shura (real name Alexandra Denton) being longlisted in the BBC’s Sound of 2015 poll and extensive airplay on Radio 1. It’s probably fair to say that demand for further material escalated quicker than Shura’s musical output which resulted in sporadic single releases and an eagerly awaited debut album. Finally, ‘Nothing’s Real’ has catapulted onto the music scene, however and brilliant it is too.

Musically, it’s fun and uplifting, mimicking 80’s synthpop yet its lyrics are more introspective and darker than the sugary melodies and uptempo tracks let on. Reviews consistently compare her work to ’80’s Madonna but it is unfair to box her into the confinements of this comparison. There are also moments of Janet Jackson, Blood Orange, Prince, Haim & Phil Collins scattered throughout but the album provides enough scope for her own distinct sound to shine through.

It’s undoubtedly Pop music, yet it’s not Pop music as that defined by global superstars such as Taylor Swift & Katy Perry. It’s more an off-centre, awkward Pop tinged with electro elements and far greater sincerity in its lyrical content than any Pop superstar could ever achieve.

For the most part, the album utilises gated percussion, shimmering synths and funk-influenced bass lines to mirror some of the best, catchiest Pop music of the ’80’s. This is the case on tracks such as ‘Indecision‘ (Shura’s ‘Holiday‘) and absolutely brilliant ‘Tongue Tied‘ (one of two tracks worked on by Pop mastermind Greg Kurstin and a track on which Patrice Rushen’s influence is clear) and rather space-y, sci-fi-influenced closing track ‘White Light‘. It’s deceptively catchy, however. Opening track ‘Nothing’s Real‘ could almost be placed in disco territory with its clinking percussion, strong riffs and catchy melodies, yet on closer inspection, the lyrics detail the more intimate matter of a panic attack. Much of the album follows suit – its uptempo music at odds with its awkward, realistic and relatable lyrical content detailing matters such as the end of a relationship, high school crushes and coming of age.

The uptempo fun continues on one of the 2016’s best Pop releases ‘What’s It Gonna Be‘? the other collaboration with Kurstin which still sounds as fresh and uplifting as on its first listen. Whilst mention of it fitting perfectly on a John Hughes movie soundtrack is becoming something of a cliche, this is certainly the case.

Elsewhere, the album is given time to breathe on gentler tracks. The analogue synthesizer sound present on ‘Touch‘ still forms part of its appeal with its breathy vocals and simple chord transition whilst the moody ‘Make It Up‘ feels as though it belongs on a Cyndi Lauper album. Then there’s the shimmering, summery ‘2Shy‘ which remains one of Shura’s best tracks. The awkwardness and shyness of the track (“Maybe I’m just 2Shy to say it, we could be more than friends…”) is somehow perfectly captured in its fizzy production and sweet vocals.

The album’s best track, however, is the gorgeous synthpop ballad ‘Kidz ‘N’ Stuff‘ which is reminiscent of Janet Jackson, Jimmy Jam & Terry Lewis’s best work circa ‘Rhythm Nation’. ‘How can I not be everything you need?’ her syrupy, whispered vocals pine over twinkling synths, moody guitars and crashing percussion. It’s tender, it’s relatable and it’s a golden moment on the album which surprisingly escalates into an incredible, spine-tingling electro interlude into the Pop perfection of ‘Indecision‘.

The album employs the use of spaced-out-synths in other areas too. Eerie, psychedelic interludes, blanketed with audio clips lifted from private home movies [(I) and (II)] punctuate the album perfectly. Indeed, the album finishes in this manner on the gorgeous, de-tuned ‘311215‘. It’s an additional reminder of how personal the album is whilst also touching on one of its key themes – time.

Another of the album’s highlights is the new-wave influenced ‘What Happened To Us?’ which somehow straddles Fleetwood Mac’s ‘Gypsy‘ and Don Henley’s ‘Boys of Summer‘ simultaneously. It is perhaps the one song on the album which breaks from the programmed instrumentation and instead utilises a full band with wailing guitars, fierce percussion and a triumphant chorus. “I’m no child but I don’t feel grown up” Shura almost growls over its fierce instrumentation.

It’s an album unconfined by fillers or impersonal production by superstar producers where Shura herself is responsible for the album’s concept, creation and curation, often assisted by Athlete’s Joel Pott. Every track is killer and its production is tight yet captivating.

One of the the must-have albums of 2016.

Highlights: What’s It Gonna Be?, Touch, Kidz ‘N’ Stuff, Indecision, What Happened To Us?, 2Shy
Rating: 5/5

‘Nothing’s Real’ is available now on Polydor Records.

Music Monday – Volume Eighty

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1) Shura – Touch

Slick and smooth, this is an effortlessly cool R&B jam by Shura.

2) Tame Impala – Yes I’m Changing

Melancholic and moody but a brilliant track which mirrors lots of ’80’s pop.

https://www.youtube.com/watch?v=QhlPXa6g4C8

3) The 1975 – Ugh!

The 1975 dropped another incredible track this week. This is reminiscent of some of Prince’s funkiest material and it’s bloody awesome.

4) Girls Aloud – The Loving Kind

Completely forgot about this track until it appeared as a suggested video on YouTube the other day. Written by The Pet Shop Boys, this is one of their best.

5) Donny Hathaway – This Christmas

Smooth and soulful, this is old-school Christmas music at its best. Absolutely brilliant track.

https://www.youtube.com/watch?v=JSBvJG2yLJQ

6) Snakehips ft Tinashe & Chance the rapper – All my friends

Love the chilled out nature of this and the chorus is very anthemic.

7) Roxette – It Must Have Been Love (Christmas for the Broken Hearted)

Before this track came to prominence, it was actually a Christmas song. Not a lot had to be removed to turn it into a generic track and both versions are lovely. One of the best and most emotive power ballads from the ’80’s.

8) James Bay – Hold Back The River

This is still an incredible, rousing and uplifting track. James performing it on the BBC Music Awards reinforced that for me.

9) Cliff Richard – Young Love

Anything by Cliff is a guilty pleasure. I have no idea how I came across this but it’s a nice little song.

https://www.youtube.com/watch?v=VXc7REiJwMc

10) The Pretenders – 2000 Miles

An often forgotten about Christmas song. It’s not the most cheery of festive songs but it’s a brilliant song and Chrissie Hynde’s vocals are still some of the best out there.

https://www.youtube.com/watch?v=V9v5X1a23fU

Shura Live – Review [The Old Market – Hove, 01/12/2015]

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It’s a Tuesday evening and I’m stood in the intimate but beautifully endearing Old Market in Hove. A quick glance around me illustrates that certainly on an age spectrum – this is one of the most diverse crowds I have been a part of.

A huge black and white sci-fi themed cartoon tapestry forms the stage’s backdrop and an assortment of keyboards, synthesisers, pedals and guitars litter the stage. When Shura takes to the stage at 9:15pm, she is greeted with a surprisingly loud reception considering the intimacy of the gig.

Whilst many may still be unfamiliar with Shura (real name Aleksandra Denton), she has undoubtedly generated a buzz in the past year. The music video for break-out track ‘Touch’ went viral, notable for its presence of her friends kissing each other, irrespective of gender. She has also been propelled through airplay on Radio 1 in addition to being longlisted in the BBC’s Sound of 2015. Born in Moscow and raised in Manchester, she writes, plays, sings and produces her own material. As she fervently swaps from keyboard to guitar throughout the set, at times it’s easy to question what she cannot do.

Musically, she mirrors late-eighties Madonna on her more lively material and Janet Jackson on the shimmering tender ballads. Throughout her forty minute set, she and her three male band members steadily progress through material from her forthcoming debut album.

Overall, the evening accentuates that Shura’s forte is her softer side. Her almost-whispered vocals are sugary and gentle, coated in eerie and reverberating effects but aching with sincerity. Each is evocative and compels the audience into a dreamy haze. Fan favourite ‘Touch’ remains a stand-out in the set list. Exuberant with fuzzy synthesisers and encompassing warmth, it’s as charming live as it is on record. Shura beams during its finish as she sneakily samples the riff from Gwen Stefani and Eve’s ‘Let Me Blow Your Mind’. It’s a reminder of her remarkable musical aptitude and emphasises her eclectic taste in music. Previously unheard ‘Kids N Stuff’ is an introspective and gentle ballad featuring clinking synths, wailing guitars and infinitely reverberating vocals which captivates the audience. The ethereal ‘2Shy’, another of her most popular tracks, is given an alternative live arrangement which evolves into an electrifying climax. Shura grins and there’s an audible cackle as she launches into a phenomenal guitar solo – it’s another moment in which her passion for music is crystal clear.

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That’s not to disregard the more up-tempo stuff, however. ‘Indecision’ (Shura’s ‘Holiday’) understandably prompts a rapturous response from the crowd. It’s a fantastically catchy track and Shura at her best. Likewise ‘What Happened’, is an electrifying pop-rock track reminiscent at times of Cyndi Lauper.

As the evening comes to a close, Shura is almost apologetic as she introduces the final song of the evening, the funky ‘White Light’, informing the crowd that she is still writing songs for her album. She needn’t apologise. Her succinct eight song set has captivated the audience and kept them on side all evening.

With more live dates already lined up for next year and the anticipated release of her debut album, it looks like 2016 is set to be an amazing year for Shura.

 

Adele – 25 Album Review

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adele-25-cover

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

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

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

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

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

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

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

’25’ is available now on XL Records.

Take That – III (2015 Edition) Album Review

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

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

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

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

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

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

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

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

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

A triumphant album featuring an eclectic amalgamation of material.

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

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

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

 

 

 

 

Ellie Goulding – Delirium Album Review

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

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

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

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

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

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

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

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

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

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

‘Delirium’ is available now on Polydor records.

Music Monday – Volume Seventy Six

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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.

https://www.youtube.com/watch?v=a0Mi_wp3K3Q

 

One Direction – Made in the A.M Album Review

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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.

Music Monday – Volume Seventy Two

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1) Tove Lo – Moments

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.