Tag: music

Music Monday – Volume Seventy Six

MarcyB0yLeave a comment

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.

 

One Direction – Made in the A.M Album Review

MarcyB0yLeave a comment

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 Five

MarcyB0yLeave a comment

1) James Taylor – Walking Man

Gorgeous folk/easy listening track with gentle guitar strums.

2) Nothing But Thieves – Graveyard Whistling

Haunting and gorgeous track from one of the best bands currently around. Conor Mason’s vocals are incredible, particularly during the falsetto chorus and the track builds up to a dramatic climax.

3) Nothing But Thieves – Last Orders

Love the unique chords on this haunting track from the band’s ‘Graveyard Whistling’ EP.

4) Nothing But Thieves – Emergency

Another heartfelt and dark track from Nothing But Thieves. The falsetto chorus drowned in reverb in this is stunning.

5) Snow Patrol – How To Be Dead

6) Snow Patrol – Grazed Knees

7) Coldplay – Adventure of a Lifetime

Epic and eclectic disco track with amazing guitar riffs and a mesh of vocal clips. As has been the case on much of Coldplay’s material over the past four years, it’s another change in direction but one which works beautifully. Catchy and upbeat.

8) One Direction – History

Pleasant acoustic-based track from the band’s forthcoming ‘Made in the A.M’ album. A power-house middle eight breaks up the song nicely and it’s a great feel-good pop track.

9) Seal – Love

Stunning piano ballad which closes Seal’s latest album ‘Seal 7’ beautifully. Seal’s trademark raspy vocals soar gorgeously over gentle synths and lovely piano chords.

10) Ellie Goulding – Codes

Catchy track from Ellie’s latest album ‘Delirium’. It’s far more pop based than Goulding’s previous efforts but a track which works brilliantly.

Duran Duran – Paper Gods Album Review

MarcyB0yLeave a comment

duran-duran-paper-gods

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

MarcyB0yLeave a comment

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.

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.

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.

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 Two

MarcyB0yLeave a comment

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.

Music Monday – Volume Seventy

MarcyB0yLeave a comment

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

MarcyB0yLeave a comment

carly-rae-jepsen-ec2b7moc2b7tion-2015-deluxe-1500x1500

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

MarcyB0yLeave a comment

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.

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.

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’.

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.

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

MarcyB0yLeave a comment

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.