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Markus Feehily – Fire Album Review

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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.

 

 

Music Monday – Volume Seventy Three

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1) Shura and Mura Masa – Love For That

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.

https://www.youtube.com/watch?v=ZFFwyen7B8Y

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.

https://www.youtube.com/watch?v=ju-SM5RRCqs

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.

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

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.

Music Monday Volume Seventy One

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1) Birdy & Rhodes – Let It All Go

Gorgeous ballad by two highly talented artists from the UK. Utilising gentle piano tones, airy synths, crashing waves of percussion and rich layered harmonies, this is easily one of the most beautiful songs of recent years.

2) George Michael – I Can’t Make You Love Me

Perhaps one of the most covered songs in Pop history, this gorgeous and emotive ballad was originally bought to attention by Bonnie Raitt in 1992 who did a wonderful job. Since then, it has been covered by a multitude of artists from Boyz II Men to Adele. George Michael covered this during his incredible MTV Unplugged performance in 1997 to critical acclaim. It was later released as a b-side to his single ‘Older’. George’s interpretation captures a sincerity and anguish that others just seem to lack.

3) The Weeknd & Disclosure – Nocturnal

A rich fusion of The Weeknd’s dark R&B sound and slick falsetto vocals and Disclosure’s euphoric house sound. Awesome opener to Disclosure’s later album ‘Caracal’.

https://www.youtube.com/watch?v=4E0bgxgncrE

4) Jack Garratt – The love you’re given

Eeerie, jittery and sophisticated, this is a gorgeous down-tempo trip-hop track. Garrat’s falsetto vocals echo endlessly into the minimalistic production.

5) Ryan O’Shaughnessy – Fingertips

You may remember Ryan as a contestant on Britain’s Got Talent a few years ago. ‘Fingertips’ is his first single after a lengthy break. Whilst maintaining his signature acoustic sound, ‘Fingertips’ adds eerie sounds and programmed percussion to create a more polished track.

6) Sonny J – Can’t Stop Moving

Whilst never a huge hit for little-known DJ Sonny J, this song has been used in multiple commercials and TV programmes since. With sweeping sixties strings, gospel tinged keyboards and huge soulful vocals, it’s irresistibly catchy.

7) Earth Wind & Fire – September

Another track which is irresistibly catchy. ’70’s disco at its best.

8) John Waugh – Flight

John Waugh is a saxophonist who has played for a variety of acts and bands. He is perhaps best known for his saxophone solos in music by The 1975. ‘Flight’ is his début EP – a gorgeous and sophisticated collection of lovingly made Jazz tracks with modern twists. The title track is perhaps the strongest track featuring funky piano, bass and guitar riffs and a gorgeous saxophone solo.

9) Lawson – Mountains

Epic power ballad from Lawson’s latest EP. Screaming guitars, heavy percussion and Andy Brown’s emotive vocals all blend to create a powerful pop-rock track.

10) Janet Jackson – Shoulda Known Better

Despite its slight disjointed nature, ‘Shoulda Known Better’ is one of the best tracks Miss Jackson has put her name to in YEARS. A follow up to her 80’s smash ‘Rhythm Nature’, this is a powerful and catchy EDM track which cries out for world peace.

Music Monday – Volume Seventy

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1) One Direction – Infinity

This week, One Direction announced their fifth album ‘Made in the AM’ in addition to the release of this new track. An emotive pop-rock ballad featuring weeping guitars, reverberating vocals and syrupy sweet harmonies, the song features an epic climax.

2) Carly Rae Jepsen- Let’s Get Lost

Funky track in a similar vein to The 1975 featured on Jepsen’s new album ‘Emotion’. An effervescent affair featuring funky guitar riffs, clinking synthesisers, gorgeous layered harmonies and a rogue saxophone solo, it’s a piece of pop perfection.

3) Carly Rae Jepsen – All That

Jepsen continues her 80’s synthpop vibe on this gorgeous slushy ballad. Giggly synthesisers and whimpering bass lines lead the track whilst Carly’s seductive vocals trickle gently atop. The climax is rather powerful too.

4) Ryan Adams – I Wish You Would

Whilst Ryan Adams and Taylor Swift share a musical background which covers country music, the concept of indie singer-songwriter Adams covering Swift’s entire synthpop ‘1989’ album sounded like an awful idea on paper. Amazingly, however, it works beautifully. Adams turns this into a moody acoustic ballad with wailing guitars and his heavy vocals endlessly reverberating.

5) Ryan Adams – Bad Blood

Adams somehow produces a cover better than the original. This alternative rock interpretation works perfectly, rife with various guitars.

6) Dimitri Vegas, Like Mike & Ne-Yo – Higher Place

Moody club track built around gentle piano riffs and the gorgeous contrast between Dimitri Vegas & Like Mike’s bass, low registered vocals and Ne-Yo’s gorgeous higher-toned vocals.

7) Mariah Carey – Dreamlover

Catchy Pop-R&B track which enabled Carey to break into the pop market. It’s all very ’90’s with its fierce drum machine and glittery piano riffs but it’s impossibly catchy and a lovely feel-good track.

8) REM – Man on the Moon

One of alternative-rock band REM’s biggest hits, this track is lyrically a tribute to performer Andy Kaufman.

9) Mumford and Sons – Believe

Upon release, ‘Believe’ marked a musical departure for the band. Best known for their organic, acoustic instrumentation, ‘Believe’ enters a more electric and alternative territory. A gentle, eerie opening develops into a powerful and energetic stadium-rock anthem.

10) Duke Dumont – Ocean Drive

Duke Dumont demonstrates a different side to him as ‘Ocean Drive’ enters a more funky, electropop territory compared to the usual deep-house tracks he produces.

Carly Rae Jepsen – Emotion Album Review

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The sophomore album is always a challenging feat. Ask any artist and they will affirm that the second album is always the most testing. How do you follow up a successful début album, an introductory statement without recovering old ground or losing your audience altogether? Carly Rae Jepsen launched onto the music scene springier than a space hopper back in 2012 with huge guilty-pleasure ‘Call Me Maybe’ which remained in the charts (and our minds) for what felt like a lifetime. Whilst eventually a vexatious presence it was unarguably a slice of pop perfection and a triumphant launch onto the global music scene. Supporting album ‘Kiss’ was an enjoyable dance-pop album but one which failed to capture the enchantment ‘Call Me Maybe’ contained. Nevertheless, it was a commercial and critical success and one which secured Jepsen as the latest pop princess.

‘Emotion’ largely follows the same formula as ‘Kiss’; the focus is placed upon alluring hooks and uptempo dance-pop tracks which document escapades of puppy love. The primary difference however, is that Jepsen’s new material contains far greater substance. As is the latest trend, ‘Emotion’ draws heavily on 1980’s synthpop, Sia Furler’s writing credentials and a team of Swedish pop writers to formulate the perfect pop album. What ‘Emotion’ may lack in individuality, however, it makes up for in spirit and conviviality. Every track is meticulously programmed by some of pop music’s biggest producers (Greg Kurstin, Mattman and Robin and Shellback to name but a few) whilst Jepsen’s breathy and sultry vocals drift sedately atop. Every effect imaginable is tossed into the concoction – distortion, autotune, excessive reverb – but every ounce of effort is worthwhile; Jepsen has delivered an effervescent album abundant with catchy guitar riffs, breezy sound effects, and irresistible pop melodies.

Album opener ‘Run Away With Me’ is a model of things yet to come, plastered with detuned saxophone riffs, tight production, shuffling percussion, repetition and infectious melodies.  It’s a fitting introduction; another teeny-bopper but its taut production gives it far greater substantiality. Lead single ‘I Really Like You’ remains as charming as on first listen whilst funky ‘Emotion’ comes dangerously close to becoming a direct rip-off of Haim’s ‘If I Could Change Your Mind’.

As is the case on all contemporary pop albums, Sia Furler is enlisted as songwriter on two tracks. The first, ‘Boy Problems’ is a fizzy affair, carrying levels of buoyancy Nile Rodgers would be proud of as Jepsen boasts that she ‘broke up with my boyfriend today and I don’t really care’. It shamelessly enters teeny-bopper territory again and is rife with sneering teenage girl ‘nah nah nah nah nah’s’. ‘Making The Most of the Night’ is a slightly darker effort in a similar vein to Sia’s own material, built around a tribal-influenced rhythm. Both tracks form just a handful of the album’s high points.

The 1975-esque ‘Let’s Get Lost’ is another of the album’s highlights, utilising funky guitar riffs, clinking synthesisers, and a feral saxophone appearance. Breezy harmonies are gorgeously layered, evolving into an exceptionally melodious chorus. It’s more infectious than than anything Jepsen has produced prior to this album and is crying out for a single release.

Elsewhere, ‘Emotion’ attempts to strike forward with a little more ferocity and variation. ‘LA Hallucinations’ explores hip-hop in a similar fashion to Taylor Swift’s ‘Bad Blood’ whilst ‘Warm Blood’ uses stomping percussion and fuzzy bass lines to great effect. Finale ‘When I Need You’, the most 1980’s influenced track by far with spaced percussion and shimmering bells could have easily been featured on the soundtrack to a classic ’80’s movie, following a similar suit to ‘I’ve Had The Time of My Life’.

In an album so sharply focussed on tight production and frolicking with various effects, the Mattman and Robin produced ‘Gimmie Love’ adopts a more simplistic touch through utilising Jepsen’s angelic vocals beautifully over minimalistic over reverberated percussion and metallic guitar riffs. Then there is sole conventional ballad ‘All That’ – a slow schmaltzy number rife with twinkling keys and giggling synthesisers, lavishly drizzled with Jepsen’s syrupy sweet vocals. The end of the middle eight hits a colossal climax which completes the track nicely.

Whilst Jepsen doesn’t necessarily demonstrate the greatest vocal range, this is greatly compensated for by the compelling melodies that stick in the mind long after the album’s final track. Every track is solid enough to be a single and this engenders a flawless album of pop gold.

‘Emotion’ is a glitzy album bursting with vibrancy; forty five minutes in which the listener is permitted to re-enter the comfort of a convivial, juvenile world free of the stresses of life. A perfect pop album.

Rating: 5/5.

‘Emotion’ is out now on Interscope/School Boy Records.

Music Monday – Volume Sixty Seven

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1) Take That – We Love to Entertain You

Electrifying and rousing stadium anthem that somehow managed to escape inclusion on an album. Whilst it did appear as a b-side to massive hit ‘Shine’ and was used in a German commercial, it was worthy of far more attention and credit. It’s a fitting tribute to fans; a sort of predecessor to ‘Hold Up A Light’, ‘Portrait’ and ‘I Like It’.

2) Beyonce – Love on Top

Funky and soulful R&B track; unbelievably catchy with an infectious melody and bouncy percussion. Highly influenced by 70’s disco tracks by Stevie Wonder and The Jackson Five, Beyonce braves FOUR key changes and blasts her powerhouse vocal effortlessly. One of her best.

3) Taylor Swift – Wildest Dreams

Miss Swift proves once again she is currently the biggest female Popstar in the world. Clearly influenced by the moody and breathy production Lana Del Ray is famous for, the chorus is unmistakeably Swift and the melody isn’t far removed from her signature Country-sound. A lovely track full of emotion, crashing beats and 80’s-esque synthesisers. Irresistible.

4) The Japanese House – Clean

Elusive and enigmatic act Amber Bain (better known as The Japanese House) released another enchanting track earlier this week, once again produced by Matty and George from The 1975. Full of twinkling bells, fizzy synths, distorted brass instruments and unsteady percussion, it’s beautifully endearing and cinematic.

5) Tame Impala – Yes I’m Changing

Aesthetic, downbeat and dreamy, this is another lovely moment from Tame Impala’s latest album ‘Currents’. Evidently influenced by ’80’s synthpop, it has a great bassline and hazy vocals.

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

6) Oasis – Half the World Away

Lovely acoustic ballad written and sang by Noel. Whilst never released on a studio album or as a single, this became well known for being used as the theme tune to the BBC Sitcom ‘The Royle Family’. It has also since been featured on two Oasis compilation albums.

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

7) The Blue Nile – Everybody Else

Whilst not the most recognised of bands, Glaswegian adult-alternative band The Blue Nile have received much critical acclaim and have gained a cult following over the years. They purposely never chased fame and are notable for their perfectionist approach to releasing music, releasing only four albums in a thirty four year career.

‘Everybody Else’ is a beautifully simplistic  track featuring only a strumming guitar, computerised percussion, sweeping synthesisers and Paul Buchannan’s melancholic but sincere vocals. It is the penultimate track on their final album to date, 2004’s ‘High’.

https://www.youtube.com/watch?v=IQYn5WgvBqU

8) Kylie Minogue, Garibay and Shaggy – Black and White

Miss Minogue is back on form with this sultry and sensual club banger, produced by Fernando Garibay and featuring a rap by legendary Shaggy. It is a return to Kylie’s club roots after previous album ‘Kiss Me Once’ was a more R&B-led affair and was only a moderate success commercially.

9) Lawson – Love Is You

Lovely acoustic-based ballad by Lawson, released as a free download on their website just days ago. Andy Brown’s voice is sincere as always and the chorus is very pretty.

https://www.youtube.com/watch?v=oFkw8v8eyvM

10) Duran Duran – Ordinary World

One of Duran Duran’s biggest hits, ‘Ordinary World’ launched the band back into the charts after a period of declining popularity in the early 1990’s. Written about front-man Simon Le Bon’s late friend David Miles, this became a huge hit around the world in December 1992. Emotive, powerful and dramatic, it is one of Duran Duran’s best works.

Music Monday – Volume Sixty Six

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1)Tamzin Archer – Sleeping Satellite

Moody 90’s pop track with lovely lyrics and an incredible vocal performance by Tamzin Archer.

2) Des’ree – You Gotta Be

Self empowering, sunny  pop-soul track bound to leave a smile on the listener’s face. Featuring a tinny keyboard sound and R&B percussion, it is SO 90’s but with a lovely message.

3) Kate Bush – This Woman’s Work

Stunning piano ballad by Kate Bush, written for the John Hughes movie ‘She’s Having a baby’. Featured in the film’s dramatic climax, it’s a fitting accompaniment to the emotional scenes but is just as beautiful as a stand-alone song.

4) Maxwell – This Woman’s Work

This may be the first time Music Monday has included two different versions of the same song in the same playlist but this had to be done. The original, as previously mentioned, is a beautiful piano ballad by the ever-elusive but incredibly talented Miss Kate Bush. Maxwell, known for his slick falsetto vocals gives this an R&B makeover complete with a twinkling harp, weeping guitars and R&B percussion. It’s a gorgeous interpretation of a lovely song.

5) Joe Jonas – Levels

Joe Jonas has certainly reinvented himself from the cheesy teen-rock he produced with his brothers and is fast becoming the latest pop-prince in the music world. The bar was set high by Jonas’ debut single ‘Jealous’, a huge pop hit which charted well around the world. ‘Levels’ is just as good, however; if not, better. Incredible falsetto vocals and funky production carry this catchy track.

6) The Weeknd – Shameless

Moody Ed Sheeran-esque ballad with gorgeous falsetto vocals by Abel Tesfaye, better known as The Weeknd. Obsessed with this right now.

7) The Weeknd – Tell Your Friends

Soul-infused R&B jam from The Weeknd’s latest album ‘Beauty Behind the Madness’. Produced by Kanye West, it’s much in the same vein as some of West’s early material.

8) Oh Atoms – Sugar Mouse

Pretty and gentle little folk ballad featured in cult favourite ‘Angus, Thongs and Perfect Snogging’. Gorgeous harmonies too.

9) Robbie Williams – The Road to Mandalay

One of Mr Williams’ most underrated works and one of his best lyrically. Genius, poetic lyrics crooned over gentle guitar strums and a gorgeous French melody leading the chorus. Simple but beautiful.

10) Michael Ball – Love Changes Everything

A very personal choice by myself as this was played at a funeral I attended last week. Beautiful song composed by theatre guru Andrew Lloyd Webber for his musical ‘Aspects of Love’ and sang flawlessly by Michael Ball.