Tag: pop

One Direction – Made in the A.M Album Review

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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.

Seal – 7 Album Review

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Since his emergence in the early nineties, Seal has been on a musical roller-coaster passing through a series of hit and misses. The focus has seemingly always been on album content and album positions over hit singles (last Top 10 hit was signature track ‘Kiss From A Rose.’) Over the years this has become more and more the norm, particularly regarding older artists and acts. Still, it’s Seal’s forte – the ability to create polished albums with quality tracks from start to finish.

‘7’ is a return to Seal of the nineties and largely replicates the dark R&B style explored on the 1998 ‘Human Being’ album. In many ways, it’s the antithesis to previous album of original material ‘Commitment’; an album of Seal testifying his love for then-wife Heidi Klum. ‘7’, on the other hand addresses the breakdown of their marriage. Musically, it utilises Seal’s three signature genres – soul, dark R&B and electronica which does slightly obscure its direction and purpose. Overall, however, it is a pleasant amalgamation of tracks.

Album opener ‘Daylight Saver’ is an eerie ballad framed by dark vocoder driven acapella vocals, lush string arrangements and electro elements. ‘Padded Cell’ is Seal’s darkest track since the 90’s and is rife with pitch-lowered spoken vocals, distorted synths, fluttery electro elements and reverberating percussion whilst ‘Do You Ever’ borrows elements of soul to make it lighter in nature.

As always, the ballads are particularly emotive and luxuriant in nature. Lead single ‘Every Time I’m With You’ is a gorgeous piano driven ballad featuring gentle guitar strums, panoramic orchestration and organic piano chords. Whilst it lacks the levels of enchantment signature track ‘Kiss From A Rose’ exhibited, it’s very much in the same vein and is a lovely track. ‘The Big Love has Died’ utilises waltz-like piano arpeggios and lavish strings building up to a dramatic orchestra-driven song whilst ‘Half a Heart’ is a step back to ’70’s ballads. Closing track ‘Love’ is by far one of the stand-outs on the album where Seal’s signature raspy vocals soar above lush tinkling pianos and gentle synths. Stripped of any over-production, it concludes the album beautifully.

The most dance-influenced track on the album, ‘Life on the Dancefloor’, feels more like clubbing for the over forties (it lacks any electro-pop/house influences and instead utilises brass instruments and piano riffs) than a reflection of the current club scene. Nevertheless, it’s catchy and polished with Trevor Horn’s sleek production which makes it one of the best moments on the album.

Whilst it’s not as sturdy as 2010’s ‘Commitment’, the return of Seal’s original material after two cover albums is warmly welcomed. Likewise, the reunion between Seal and long-term collaborator Trevor Horn is a winning combination; Horn adds invigorating production to the whole affair.

An enjoyable album featuring an eclectic range of genres.

Rating: 4/5.

‘7’ is out now on Warner Bros records.

Mika – No Place in Heaven Album Review

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Any mention of Mika usually results in association with his smash début single ‘Grace Kelly’. It’s hard to believe that it’s been eight years since ‘Grace Kelly’ topped the chart in the UK and multiple other countries around the world. Certainly, accompanying album, ‘Life in Cartoon Motion’ was also a huge success, spawning four top ten singles. Follow up album ‘The Boy Who Knew Too Much’ was also a success but lead single ‘We are Golden’ was its only real triumph with follow up singles bombing outside of the Top 40. 2012 saw the release of ‘The Origin of Love’, an imperceptible musical departure from previous albums but one which did signify greater maturity. The album limped into 24 in the UK album chart, hugely disappointing for an album worthy of a far better reception.

Spring forward to June 2015 and there was the surprise arrival of Mika’s latest offering, ‘No Place in Heaven’ which seemingly appeared out of no-where. Perhaps Team Mika should invest more on promotion and generating the buzz that first surrounded Mika at the beginnings of his career. Still, it has so far fared at least a little better than ‘The Origin of Love, peaking at number nineteen in the UK album chart.

‘No Place in Heaven’ is an archetypal Mika album, drizzled in camp abundance, littered with falsetto easy sing-along melodies, an over dependency on the bashing of piano keys, foot stomping percussion and containing more fun than a barrel of monkeys. It’s a return to the immaturity and simplicity of Mika’s first two albums, perhaps in a desperate attempt to regain some of his seemingly fading commercial magic. It’s an irresistibly catchy album full of well-written hooks, organic instruments and a strong vocal delivery from Mika as always; his extensive vocal range is certainly to be admired.

Album opener ‘Talk About You’ begins with a buzzing bass line before launching into a bouncy, buoyant pop-track with an irresistible melody. ‘All She Wants’ maintains the party atmosphere with ‘Mickey’-esque cheerleader hand claps, rich and layered harmonies and a rousing chorus. The album briefly visits the 1960’s with the springy and flamboyant ‘Oh Girl You’re The Devil’ whilst it all goes a bit Fleetwood Mac on ‘Rio’ It’s the up-tempo tracks which are most effective on this album; the ballads remove the fizz and energy of the album aside from the lovely ‘Good Guys’.

It feels like Mika is having a whale of a time and rightly so. He’s delivered a fine album, a master-class in song-writing as always and more than proves his worth. It’s not quite as robust as ‘Life in Cartoon Motion’ or as consistent as ‘The Origin of Love’ but it’s an admirable pop album which proves our UK artists are still something to be very much proud of.

Rating: 4/5.

‘No Place in Heaven’ is available now on Casablanca records.

The reinvention of The 1975…

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1st June.

Fans of The 1975 have been waiting for this day for months. We have been subjected time and time again to the same cryptic tweet (“1st June, The 1975”) from front man Matt Healy over the past four months with the expectation of an announcement or new music.

Of course, die-hard fans will recognise this date as being an integral part in the band’s history. The origin of thee band’s name lies within a scrawled phrase Matty found on the back page of an old Beat diary he was given. Finding the use of ‘the’ prior to ‘1975’ fascinating, it became the band’s name after a multitude of others (B I G S L E E P and Drive Like I Do being just a couple of examples).

Yesterday evening, (31/05/2015) each member posted an image of a cartoon strip on their social media accounts, seemingly implying The 1975 were to disappear. The cartoon appeared to centralise on the themes of finality and change through a series of statements and speech bubbles. There’s a swipe at NME magazine, two contrasting depictions of Healy (‘Old Matty’ presented as a figure dressed in black whilst ‘new Matty’ is a male dressed in pink) and a series of gossip-y, social media inspired speech bubbles. Fans were left even further perplexed this morning upon discovering all propaganda related to The 1975; official website, Facebook, Twitter and Instagram pages in addition to the band’s solo social media accounts had all vanished from the web.

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Fans were sent into overdrive as they perceived these manoeuvres as signifying the end of the band. This seems highly unlikely, however, considering the band’s existing success and reputation. It appears that the band is in the process of reinvention, a concept Matt Healy is obsessed with. This bold move more than likely reinforces his discontent of social media culture. Furthermore, it appears to signify the end of The 1975 as the public know them and the caricature Healy felt he had become of himself. It’s a clever move, one that’s certainly earned them publicity.

Whilst this may be an uncertain time for fans, it’s also an exciting one as it marks the beginning of a whole new era…

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Music Monday – Volume Fifty Five

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1) William Fitzsimmons – I had to carry her

I love this guy. His entire discography has this soft, soothing quality about it like a hot drink on a bitter winter’s day, that makes everything seem okay. The studio version hasn’t surfaced on YouTube yet but here’s a pleasant live performance of it. Beautiful song.

2) Victoria Beckham – Let Your Head Go

Guilty pleasure, as most of the Spice Girls’ solo material tends to be! In all fairness, whilst Victoria lacked vocal ability (she’s definitely found her niche in fashion designing), her brief pop career was enjoyable. She produced some great pop hits. This is dance-pop at its best; irresistibly catchy.

3) Will Young – Blue

Despite being a long-term fan of Will, new album ‘85% Proof’ left me greatly underwhelmed. Previous album ‘Echoes’ marked a change in direction but it had flare. ‘85% Proof’ falls a little bit flat for me – there’s no particular stand-out track strong enough to represent the album (hence why lead single ‘Love Revolution’ failed to make the Top 40). 85% Proof isn’t awful – it’s well written and has a nice flow to it, it’s just not really my thing if I am honest. This is one of a sheer minority that I enjoyed a lot during my listening experience, however. It’s got a ’70’s feel to it – a kind of glam-rock sound.

4) Backstreet Boys – She’s a Dream

Lyrics aside (a boyband declaring that “Shorty ain’t got cable, she don’t even got a radio” is rather idiosyncratic but what more can you expect from a song co-written by T-Pain?!) this is a fine piece of R&B. It feels like all participants have had a somewhat fantastic time tampering with as many gadgets and effects on this one, especially with its over-usage of autotune, but its rich harmonies and catchy beat make it an irresistible track.

5) Lemar – Very Best

Lemar’s last album ‘Invincible’ was criminally underrated. It marked a departure from his usual R&B/Soul sound and advanced more into a pop-rock territory. Unfortunately, it massively underperformed which is a real shame when it’s such a strong, enjoyable album. “Very Best” is one of its high points, a rather sweet and sentimental affair with a powerful message. The middle eight (1:56 – 2:19) is also one of my favourite parts of a song ever.

6) 5ive – Let’s Dance

One of the first singles I ever bought. Pop perfection.

7) S Club 7 – Love Ain’t Gonna Wait For You

Catchy disco-pop from the group’s final album ‘Seeing Double’. It’s a little more mature than the group’s earlier material but still manages to be catchy with an irresistible sing-along chorus.

8) Alesha Dixon – The Way We Are

I’m not a massive fan of Alesha or her music, although ‘To Love Again’, written by Gary Barlow & John Shanks was a beautiful song and ‘The Boy Does Nothing’ was a great track too. This is enjoyable, however. Catchy and a return to her Garage roots.

9) A1 – Caught in the Middle

Without a doubt, one of the greatest boyband ballads ever. I wouldn’t even regard this as a guilty pleasure, it’s that bloody good. More mature than the band’s earlier work, this was a risk that paid off and this became a massive hit back in 2002. That middle eight is awesome too.

10) Wet Wet Wet – Goodnight Girl

One of my all time favourite love songs. Marti Pellow has such a beautiful voice and the layered harmonies are gorgeous. I love the concept of the song too.

Music Monday – Volume Fifty Three

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1) The 1975 – Settle Down

I love every single song from The 1975’s debut album but some tracks do get more listens than others! I neglected this song for quite a while but was recently reminded of how awesome it is. The slamming beats and funky guitar riffs contribute to its catchiness.

2) Gabrielle – I Wish

90’s R&B at its best with an awesome new jack swing vibe. Smooth, soulful with a message we can all relate to, this is an underrated beauty! Gabrielle has one of my favourite voices in Pop music and is worthy of far more credit than she receives. Many only know her for ‘Dreams’, ‘Out of Reach’ and ‘Rise’ but a listen to her Greatest Hits album proves her diversity and her level of talent. Love this.

3) Broken Social Scene – Major Label Debut

I watched ‘It’s Kind of a funny story’ for the first time last week and completely fell in love with it. Funny and moving, it tells the story of a teen boy who checks himself into a mental-health clinic. These guys did the score all the way through and this song played during the credits. It’s just a great feel-good song.

4) Queen & David Bowie – Under Pressure

One of Queen’s best songs and certainly one of my favourites. Gives me plenty of fond memories from performing in my school production of ‘We Will Rock You’ and from seeing the musical live in the West End twice. Bowie is a legend too of course. Irresistibly good.

5) Janet Jackson – That’s The Way Love Goes

Smooth and sultry, this song captures everything Janet Jackson is as an artist. Awesome production, clever sampling of James Brown’s ‘Papa don’t take no mess’ and a timeless song.

6) Michael Jackson – Beautiful Girl

Stunning demo which appeared on Michael’s 2004 Ultimate Collection box set. The finished version (if it was ever fully completed) has never come to light but fans value this version greatly. Michael’s falsetto is gorgeous. Even his unreleased material was in a different league. Beautiful song.

7) S Club 7 – Sunshine

Track from the album with the same name, I’ve always adored this song. It’s so optimistic, so catchy and has an irresistible feel-good vibe. It’s a little bit more mature than some of their best known singles and Jon Lee’s voice is absolutely incredible on it. Some beautiful memories always return to me with this song.

8) S Club 7 – Have You Ever

Upon its release, I was never that fond of this track. Since their split, however, this song has found a place in my heart and it’s now one of my all time favourite S Club 7 songs. Written by one of my favourite songwriters Chris Braide along with Cathy Dennis (responsible for many of S Club 7’s material in addition to some of the best loved pop music over the past twenty years), this was released as Children in Need’s Official Single back in 2001. Beautiful, relatable lyrics, amazing vocals from Jo O’Meara and simply pop music at its best. Gorgeous.

9) S Club 7 – Two In A Million

Beautiful, mellow ballad from S Club 7’s début album and one of their more underrated singles. Jo O’Meara’s voice is absolutely incredible.

10) S Club 7 – S Club Party

This remains an absolute classic in the history of pop! Was very lucky to be able to experience this live once again when I saw a newly reformed S Club 7 perform live at the 02 Arena – the atmosphere was incredible during this song. Still much loved today.

 

NEW:

Album of the week:

Revolutionary Road: Original Motion Picture Soundtrack by Thomas Newman

Stunning score by my favourite composer, Thomas Newman. He’s been responsible for the scores of some of my favourite films e.g. American Beauty, The Green Mile & The Shawshank Redemption. His scores are always haunting and accompany any scene perfectly.

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.

 

Markus Feehily premieres new single

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Markus Feehily has premièred his début solo single ‘Love is a Drug’.

It’s been three years since Westlife split. Markus has kept a relatively low profile until now whilst ex-band members Shane Filan and Kian Egan have had a reasonable amount of success with their solo albums. Westlife were always an acquired taste. I enjoyed some of their music but wasn’t really into them if I’m completely honest. That said, I am always interested with any music developments and am looking forward to seeing what Markus has to offer in his solo career.

‘Love is a drug’ is co-written with songwriter/producer Mojam who has previously worked with Sam Smith and Emeli Sande. It’s a massive track with sweeping strings, 90’s house/trip-hop beats in the same vein as Massive Attack’s ‘Unfinished Sympathy’ and Emeli Sande’s ‘Heaven’. Markus really showcases his impressive vocals and I am really, really enjoying this track.

Check it out below!

Music Monday – Volume Twenty Six

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1) Jessie Ware – Imagine it was us

Catchy, irresistible dance track. Love this.

2) Charlie Simpson – Thorns

Great song off Charlie’s début solo album with a catchy, beautiful melody.

3) Charlene Soraia -Caged

Great pop track.

4) Stereophonics – Have a nice day

Such an uplifting, catchy song which is perfect to lift your spirits at the beginning of the day. Always reminds me of the summer and always makes me feel great.

5) Ronan Keating – Life is a rollercoaster

Cheesy Pop at its best. Catchy, uplifting and a fine, fine song. One of my favourite songs of all time.

6) Friendly Fires – Hurting

Such a catchy song with a 1980’s electro-feel to it.

7) The Vamps – Smile

Perfect closing track to The Vamps’ début album. A catchy, feel-good anthem.

8) The Vamps – Lovestruck

A slightly darker track on The Vamps’ début album, this is a great song.

9) Robbie Williams & Brad Paisley – Collision of worlds

A perhaps less known track, this appeared on the soundtrack to the movie ‘Cars 2’. The lyrics are witty and very cleverly written and it’s such an awesome song.

10) John Mayer – 83

A great little song that appeared on John’s début ‘Room for Squares’ that deals with nostalgia and wishing to be a child again. It’s easy to relate to and a fantastically written song.

Ultimate Summer Playlist

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With the arrival of summer, it only made sense to compile an Ultimate Summer Playlist. It’s not definitive, of course but these are a collection of songs which scream ‘Summer’ for us here at the Music Box.

[Apologies for two of the songs being crappy karaoke versions/imitations but they’re not available on Spotify – these are Rizzle Kicks – ‘Tell her’ and P!nk’s ‘Feel good time’.]