Tag: music review

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.

The Japanese House – Clean EP Review

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Over the years, elusive and practically faceless artists have become a rarity. In an age where commercial music seemingly thrives off fan connection on social media, appearance, controversy and personality, it is exceedingly infrequent for an artist or act to emerge and maintain their anonymity. The Japanese House (or Amber Bain) is an exception. Bain first surfaced over a year ago, capturing the attention of many around the world with her cinematic, atmospheric 80’s-esque indie-pop. The success of début EP ‘Pools to Bathe In’ has been followed with latest offering ‘Clean’, a four track EP.

Similarly to ‘Pools to Bathe In’, ‘Clean’ is a lavish-sounding affair and enchanting throughout. Title track ‘Clean’ opens with scatty oriental-sounding synthesisers and clonking bells before unsettled percussion and a mesh of broken vocals carry the rest of the song. ‘Cool Blue’ is the E.P’s superlative track, beginning with gentle guitar riffs and melancholic, dreamy vocals. It evolves into an ’80’s-sounding synthpop track with shuffling percussion and gorgeous syrupy layered vocals. Like the rest of Bain’s work, it’s dreamy, atmospheric and enchanting.

‘Letter By The Water’ is more moody in tone and features gorgeous reverberating guitars and synthesisers amongst eerie sound effects representing water. It’s a little heavier than the first two tracks but still hugely enjoyable. EP closer ‘Sugar Pill’ utilises sombre piano chords before launching into an electro track abundant with jittery synths and stuttering percussion.

An enthralling and endearing E.P; a reinforcement that The Japanese House are only just beginning…

Rating: 4/5.

‘Clean’ is available now.

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.

 

 

Duran Duran – Paper Gods Album Review

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It’s tough to stay at the top. Very rarely does an artiste or band remain successful for the entirety of their career. Most encounter a fall from grace and are reduced to playing dingy clubs or worse still, hanging up their microphone for good. There are exceptions of course. Kylie, Madonna, Take That etc. have all proved their durability and continue to release top selling albums and sell out arenas and stadiums across the world.

Being a band whose peak lies in the distant past of the late 1980’s, Duran Duran are more than aware of the challenges of remaining relevant in a youth-obsessed industry. They quickly discovered a long and fruitful career lies in reinvention; through updating both sound and image but retaining identity. Over the past fifteen years, they have sought to remain current through collaborating with a diverse range of artists. Previous album, 2010’s ‘All You Need Is Now’ was produced by Mark Ronson whilst Timbaland and Justin Timberlake injected R&B/Hip Hop into 2007’s ‘Red Carpet Massacre’. Overall, these paid off; Duran Duran are still fortunate enough to perform to sold out arenas across the world.

‘Paper Gods’ once again serves as a who’s-who of Pop and enlists the assistance of a range of artists to contemporise the album. Kiesza, Janelle Monae, Nile Rodgers, Linsay Lohan, former Red Hot Chilli Peppers guitarist John Frusciante, Jonas Bjerre and Mark Ronson all feature in some way whilst the other half of the album allows the band to retrieve the glory. Production duties for this album are handed to Mr Hudson, best known for his solo album ‘Straight No Chaser’ and collaboration with Kanye West on ‘Supernova’ before seemingly vanishing. Hudson’s own material was largely influenced by 1980’s elecronica and synthpop, adding hip-hop beats to guarantee its relevance in the current industry. Duran Duran were no doubt one of his own influences and this is is where ‘Paper Gods’ becomes a rather confused affair. Is Duran Duran inspiring Hudson’s sound or vice versa? Either way, Hudson injects vibrancy, relevance and enchantment into the album, allowing them to maintain their identity and signature sound but with added flare and relevance to keep it bang-up-to-date.

Production aside, ‘Paper Gods’ is not far removed from Duran Duran’s signature material from the late 80’s. The tinny guitar riffs, anthemic choruses, chaotic chord progressions and Simon Le Bon’s sturdy vocals behind the band’s biggest hits are still littered all over the album. The difference here is, the presence of Mr Hudson who frolics around with as many vocal and sound effects as possible.

Much of the album is enjoyable. The album’s opener, title track ‘Paper Gods’ begins with an endearing acapella before launching into a bouncy new-wave track featuring the band’s trademark guitar riffs and Mr Hudson having a whale of a time tossing as many effects possible into the mix. The sombre tone of 1992 hit ‘Ordinary World’ is replicated in ‘Kill Me With Silence’, a track in which substandard verses are compensated for in the gorgeous chorus but finishes with an epic, eerie distorted guitar solo. Nile Rodgers, Mark Ronson and Janelle Monrae inject funk into ‘Pressure Off’, a track which attempts to regain some of the magic found in Ronson’s ‘Uptown Funk’ and Rodger’s ‘Get Lucky’. The band are greatly accustomed with Rodgers, he was responsible for some of their most successful material, and this is evident in the track. Rodger’s signature Chic-like guitar riffs, punchy bass lines and addictive melodies result in one of the album’s highlights. ‘Face for Today’ is an enjoyable breathy pop number whilst the chaotic chord progression in moody new-wave track ‘What Are The Chances’ results in an endearing and gorgeous stand-out moment.

It all gets rather Pet Shop Boys on ‘Danceophobia’, a track so flamboyant it’s difficult not to fear the emergence of Alan Carr at any second. Catchy it may be, but lazy lyrical content and a bizarre appearance from Lindsay Lohan appearing as a doctor result in it being rather deplorable. And that’s the album’s main fault; it tries too hard to please. It’s so full of funky production elements and chaotic chord progressions that there is never a moment just to let it breathe or to focus on the essence of each song.

It’s a sound album, overall and its bold, lively nature are certainly to be commended. Sometimes, however, less is more and ‘Paper Gods’ is just a little too effervescent.

Rating: 3/5.

Paper Gods is available now on Warner Bros Records.

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.

Janet Jackson – Unbreakable Album Review

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093015- Janet Jackson (courtesy of Black Doll Inc.)
 (courtesy of Black Doll Inc.)

There are few artists that are fortunate enough to have experienced the longevity in the music industry that Janet Jackson has. Even more remarkable that she has consistently avoided living in the shadow of superstar brother Michael, demonstrating her own art is substantial enough to maintain her super stardom.

“It’s been a while, lots to talk about, I’m glad you’re still here”, Janet murmurs thoughtfully at the end of opening track ‘Unbreakable’. Indeed, it’s been seven long, eventful years since Janet’s previous release of original material. 2008’s ‘Discipline’, whilst selling moderately, grossly under-performed in terms of single positions and legacy. It was, however, an improvement from 2006’s ’20 Y.0′, slammed by music critics, particularly for the involvement of Jackson’s then boyfriend Jermaine Dupri. Since ‘Discipline’, Jackson encountered the unexpected death of brother Michael from cardiac arrest; an event which sent tremors around the world. She separated from Dupri after a seven year relationship in 2009 and married third husband Wissam Al Mana in a private and secretive ceremony in 2012. It is these events which largely form the lyrical content of the album.

‘Unbreakable’ marks the return of legendary producers Jimmy Jam and Terry Lewis – fixtures of Jackson’s music since her tentative beginnings back in the late 1980’s. They were noticeably absent on previous album ‘Discipline’ and it is their innovative production on this rich synthesis of R&B, dance and pop music in addition to Jackson’s sincere and hugely personal lyrical content which brings the album alive.

Title track ‘Unbreakable’ opens the album beautifully with gentle piano riffs, jittery electronic samples and organic brass instruments. It’s a joyous track and the perfect album opener. ‘The Great Forever’ is a sullen affair featuring beeping computer programming, a shuffling beat not dissimilar from brother Michael’s 1988 hit ‘The Way You Make Me Feel’, and Jackson’s signature syrupy layered harmonies. The somewhat disjointed ‘Shoulda Known Better’, a follow up to Jackson’s hit ’80’s single ‘Rhythm Nation’ begins tentatively as a ballad before launching into an EDM-influenced track. Disappointingly, it never quite quite reaches the heights it could and is crying out for a more predominant bass line. Despite its flaws in production, it’s one of the album’s highlights, a socially-concious, politically themed and powerful track.

The album achieves contemporary appeal through its utilisation of dance/R&B music. ‘Dammn Baby’, is an R&B track abundant with fierce bass lines and robotic auto-tune whilst Missy Elliot collaboration ‘BURNITUP!’ is another club friendly R&B track. Jackson, Jam and Lewis use 1993’s ‘That’s The Way Love Goes’ as a template on lead single ‘No Sleeep’ – a sultry and gentle R&B jam. ‘Take Me Away’ is another of the album’s highlights; another ferocious and powerful EDM track perfectly programmed by Jam & Lewis. Jackson’s vocals are once again layered blissfully to create a gorgeous wall of harmony and the chorus contains a heartbreaking vulnerability.

Vulnerability is captured further in more tender moments on ‘Unbreakable’. ‘After You Fall’, a gorgeous piano ballad stripped of the effects the rest of the album is laden with is a tender and beautiful moment. Likewise, the album is well-punctuated by ‘Lessons Learned’, comprised of gentle guitar arpeggios and Jackson’s angelic vocals. The disco-influenced ‘Broken Hearts Heal’ is a tribute to brother Michael, reminiscing their childhood growing up together whilst utilising the smooth and soulful sound Michael exhibited on his ‘Off The Wall’ album. It’s refreshing to hear Jackson return to some of the fun previously contained in previous hits ‘All For You’ and ‘Runaway’ and another of the album’s highlights; a gentle R&B groove reminiscent of some of Jackson’s best work in the 1990’s. “Black Eagle” is a soulful affair with bongo-like percussion and detuned, twinkling synthesisers whilst ‘Well Travelled’ is a powerful arena-rock anthem, breaking into new territory for Jackson.

At forty-nine, Jackson’s voice is naturally deeper than previously which somewhat disconcertingly makes her sound more like Michael than ever. The angelic and breezy tone to her voice remains, however and the alluring nature of her voice still trumps many female artists around today.

‘Unbreakable’ is concrete verification that Jackson is back to regain her status as the Queen of Pop. A rich fusion of genres with compelling production by Jimmy Jam and Terry Lewis, it’s her most substantial album since 2001’s ‘All For You’. A triumphant return.

Rating: 5/5.

‘Unbreakable’ is out now on Rhythm Nation/BMG Records.

 

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.

The Weeknd – Beauty Behind the Madness Album Review

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“Go tell your friends about it”, Canadian artist Abel Tesfaye croons on track three of latest album ‘Beauty Behind the Madness’. Indeed, it’s an album which boasts amorality, self-absorption and an insensate panorama of life. It is not the first of Tesfaye’s works; this is his second album and fifth collection of songs following three mix tapes and début album ‘Kiss Land’. But whilst ‘Kiss Land’ was a moderate success, it is latest offering ‘Beauty Behind the Madness’ that has captured the public’s attention. Largely propelled by huge single ‘Earned It’, certified platinum in the United Kingdom and best known for being featured in this years Fifty Shades of Grey movie, The Weeknd is fastly becoming the latest R&B sensation to hit the commercial music scene.

‘Beauty Behind the Madness’ adopts a nothing-to-hide approach, presenting themes such as no-strings-attached sex, drug usage, self destruction, the pursuit of fame and disloyal women amongst an eclectic amalgamation of thumping hip-hop beats, shiny brass instruments, syrupy-rich layered harmonies, funky bass lines and weeping guitars. It is a descent into melancholic psychedelia but one which thankfully avoids over-saturation through clever production and an assortment of genres.

Much of the album is an 80’s impelled anthology. ‘Real Life’ opens with irate synthesisers and crashing beats whilst ‘Losers’, a duet with Labrinth, utilises the piano in a similar fashion to Kanye West’s ‘Heartless’. Much of the album continues in the same way; eerie reverberations, clever production and Tesfaye’s angelic vocals smother symphonic scores. ‘As You Are’ borrows ’80’s gated pummelled percussion and clinking synthesisers with more reverberation than the dark side itself. It’s one of the album’s triumphant successes, however; a theatrical sound-scape in which Tesfaye vows to take his lover as they are, scars and all. ‘In The Night’ utilises a shuffle rhythm, growling bass and an irresistibly catchy melody.

Other moments slant heavily into hip-hop territory; ‘Often’ is comprised of a mesh of shrill sound-effects and Tesfaye’s salacious admission of doing it ‘often’. Lead single ‘The Hills’ is a song with instrumentation so precarious, it is a direct reflection of its lyrical content; a narrative about a plummeting sexual relationship. One of the more successful hip-hop tracks is ‘Tell Your Friends’ – a song so rife with hubris, Kanye West would be envious. It comes as no surprise, then, that Mr West himself is responsible for the production of this gentle R&B jam. Fluttering synthesisers and jazzy staccato piano chords make this track reminiscent of West’s ‘808’s and Heartbreak’ album. Whilst the album’s abundance of remarks such as ‘these b*****s’, these ‘n*****s’ and comments upon genitalia don’t come as a surprise, they are not the most fitting complement to Tesfaye’s innocent falsetto whispers. At times the contrast between the two becomes a little unnerving.

Thankfully, the sullen nature of the album is broken up by the odd injection of pop; the primary method Tesfaye has captured the public’s attention is through the selection of radio-friendly singles. Bleak waltz-ballad ‘Earned It’ known for its inclusion in the Fifty Shades of Grey movie is still captivating with its dramatic orchestration and sacharine sweet vocals. It is still as fierce as it was upon release. Still, even the pop moments disguise darker undertones; latest single ‘I Can’t Feel My Face’ is an ode to Tesfaye’s love of sex and cocaine, cleverly obscured by its radio-friendly pop sound. Co-written by songwriting genius Max Martin (the mastermind behind hits by Britney Spears, The Backstreet Boys and Katy Perry amongst countless others), Tesfaye does his best imitation of the King of Pop, drizzling his falsetto-ridden vocals over a funky bass line and tight percussion. It’s catchy, slick and pop music at its best. ‘Who’s gonna f*** you like me?” Tesfaye pines on saturnine acoustic guitar ballad ‘Shameless’. It’s another of the more pop-py moments on the album but one which works beautifully, complete with a warped guitar solo.

Tesfaye depends greatly on mainstream pop individuals on this album, enlisting Ed Sheeran, Lana Del Ray, Labrinth and Kanye West to name a few. ‘Dark Times’, a collaboration with Sheeran is a sulky waltz-like track in the same vein as ‘Earned It’ whilst the Lana Del Ray duet never quite reaches the heights it could. Nevertheless, the collaborations have resulted in an enthralling assortment of tracks.

It’s a dark, moody, seductive and powerful album, an innovative addition to the music industry.

Rating: 5/5.

‘Beauty Behind the Madness’ is out now on XO-Rebulic Records.

Jess Glynne – I Cry When I Laugh Album Review

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It feels as though no week in the past year has witnessed Jess Glynne absent from the UK singles chart. She has quite literally been everywhere, showcasing her rich soulful vocals with a multitude of friends in the industry; Clean Bandit, Room 94, Tinie Tempah and now, on the album, Emeli Sande. Indeed, it is likely Sande is responsible for Glynne’s never-faltering presence in the music industry; she too once was everywhere. Glynne should be cautious – Sande’s current absence from the industry lead to a sigh of relief from most of the general public who needed to recuperate from Sande’s over exposure (we’ve heard quite enough of ‘Read All About It’, thank you very much).

Those in camp Glynne have certainly been exceptionally savvy in generating a buzz for the album; the build up to its release has taken well over a year, beginning with the release of quirky ‘Rather Be’ with Clean Bandit last year. Since then, Glynne has taken a musical apprenticeship with a range of music industry acts, scoring five UK Number One and two top ten singles. Unfortunately, the album itself is a mixed bag of successes and weaknesses.

Musically, ‘I Cry When I Laugh’ is a joyous affair, full of bouncy house tracks, R&B jams and funky soul numbers. It’s all very 90’s. Glynne’s inability to strip any of the tracks of hand-claps makes it all rather uplifting and soul-stirring; at times the listener might question if they are listening to an album or attending a church service. Lyrically, however, the album tells an alternative story. Much of the album’s material discusses heartbreak or unstable relationships. The contrast between lyrical and musical content is one of the album’s strengths, a refreshing take on a heartbreak album.

The album utilises a range of genres, the main being R&B. Pleasant album opener ‘Strawberry Fields’ (not of any relevance to the track by The Beatles) is a leisurely R&B jam which signifies what’s yet to come. ‘Gave Me Something’ follows suit with house-styled piano riffs and catchy hip-hop beats layered with hand claps. ‘Ain’t Got Too Far To Go’ on the other hand, is a fun pop track with squeaky violins and honky-tonk piano chords, hip hop beats, football chants and gospel-influenced harmony layers. ‘Why Me’ continues the R&B thread, featuring Boyz II Men-esque backing vocals, although this is bought up-to-date with its unsettled dub-step percussion. The influence of Prince is conspicuous on ‘You Can Find Me’, one of the album’s stand-out tracks featuring giggling synthesisers, the return of gospel session singers, slamming beats and funky bass riffs. It’s a ‘Raspberry Beret’ for the modern generation.

Elsewhere, the album remains loyal to Glynne’s signature dance-pop/house sound she became famous for. Singles ‘Don’t Be So Hard On Yourself’, Huge dance smash ‘Hold My Hand’ (still an enjoyable listen), ‘Real Love’ (a victim of exposure) and ‘Right Here’ are all powerful, catchy dance hits that have become radio airplay staples. Disappointingly, other hits ‘Rather Be’, ‘My Love’ and huge summer banger ‘No Letting Go’ are reduced to bonus tracks, a cheap marketing technique to encourage fans to invest more money and purchase the deluxe version of the album.

The main issue with the album is it avoids providing much scope. Only two ballads are present, ‘Take Me Home’ and ‘Saddest Vanilla’, a duet with Emeli Sande. Both are pleasant enough but avoid any real emotional depth. The album’s up-tempo, in-your-face nature, whilst an admirable approach, becomes a little intense, monotonous and excessive half-way through and cries out for more variety. The album therefore works more effectively in small doses than as a full album listening experience. The over-exposure of most of the singles also mean these all fall rather flat, bogging the album down.

‘I Cry When I Laugh’ tries painfully hard to impress and in places it does. It’s all a lot of fun, tinged with elements of gospel music and 90’s house, it’s just all a little intense as a whole and becomes somewhat intolerable as a complete album. Nevertheless, its bold and optimistic ambience is to be admired. What it lacks in scope it makes up for in spirit.

Rating: 3/5.

‘I Cry When I Laugh’ is out now on Atlantic records.

Circa Waves – Young Chasers Album Review

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CW_YCA_SLEEVE-1024x1024Every now and then, the release of a new album affirms the UK’s continuing affection of the indie scene. Liverpool’s Circa Waves are the latest act to do just this with their début album ‘Young Chasers’. It’s fun, it’s uplifting and a great album, one which will no doubt be the sound blaring from many teenagers’ tinny, portable speakers at the park this summer. A throwback to the indie scene a decade ago, it’s influenced by Arctic Monkeys, Razorlight and the Libertines; an album of youth, enthralling love and boozy Friday nights. Whilst most of the album documents the vertiginous, infinite moments of adolescence, occasionally, frontman Kieran Shudall’s contemplations capture the transition from adolescence to adulthood, professing trepidations such as “I’m a little too young with not enough time”. Refreshingly, producer Dan Grech-Marguerat avoids frolicking around with computer generated sounds and instead focusses on the recording of the band itself, their two guitars, bass and drums.

Part of the album’s success lies in its length. ‘Young Chasers’ avoids being presumptuous and clocks in at forty minutes in length with many of the tracks being just two minutes long. This keeps the album succinct in nature and avoids becoming monotonous.

What ‘Young Chasers’ lacks in innovation, it makes up for in charm and charisma. It’s a fun, festival fuelled album and a very enjoyable listen.

Rating: 4/5.

“Young Chasers” is available now on Universal/Virgin EMI.