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Take That – III (2015 Edition) Album Review

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

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

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

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

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

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

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

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

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

A triumphant album featuring an eclectic amalgamation of material.

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

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

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

 

 

 

 

Ben Haenow – Ben Haenow Album Review

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If Simon Cowell was particularly apprehensive about Ben Haenow being declared the eleventh winner of the X Factor, he had every right to be. The alleged curse of male X Factor winner has been in full force since Series One winner Steve Brookstein’s refusal to be Cowell’s puppet and subsequent drop from Syco music. Since then, male winners have come and gone; Shayne Ward, Leon Jackson, Joe McElderry, Matt Cardle and James Arthur – all recipients of a fleeting moment of fame.

Still, it began promisingly for Ben Haenow. During his stint on the X Factor, the former white van driver was largely consistent, gaining the most votes in six out of the ten weeks. Début single was an enjoyable cover of OneRepublic’s ‘Something I Need’, a rousing pop-gospel anthem. It is largely this sound that Haenow has adopted for his début self-titled album but with varied results.

Lead single ‘Second Hand Heart’, a duet with US powerhouse singer Kelly Clarkson opens the album modestly. Whilst a pleasant pop track, it’s clear why Clarkson has been enlisted to lend her vocals to it. Without her sparkle, it’s unlikely the track would have charted at all (it reached a dispiriting #21 in the UK singles chart). ‘Slamming Doors’ and ‘Way Back When’ are mope-y ‘love is exhausting’ pop ballads whilst mediocre vocals let down saccharine piano ballad ‘Make it back to me’. ‘Start Again’ is an average arena pop-rock anthem featuring an easy sing-along chorus and it all gets overly-sentimental on ‘Brother’, a track about, well, you guessed it. It’s a generic pop-rock anthem but has a competent chorus.

There are some successes, however. ‘All Yours’ is Haenow’s Macy Gray moment, utilising R&B beats, a jazz organ and rich gospel choir vocals. Haenow’s vocals are sturdy and well-matched to the track.  ‘Lions’ is a charming Ben Howard-esque ballad featuring folk acoustic guitars and a melodic chorus whilst ‘Something I Need’ is still a surprisingly enjoyable and substantial cover which closes the album beautifully.

The album’s triumph is ‘Testify’, a buoyant and rousing pop track which mirrors the pop-gospel synthesis found on ‘Something I Need’. Co-written by Daniel Bedingfield, it’s tight in production, catchy and optimistic, featuring gospel music-like piano chords, fierce percussion and of course a gospel choir.

The main issue is the album lacks any variation or diversity. It’s consistent in genre but is painfully dull aside from its pop-gospel moments. It’s the generic and conventional X Factor winner album, plastered from start to finish with a drab form of pop-rock. At times even Haenow sounds bored; it’s evident he’d much rather have created the rock album he’d always wanted to make.

A bland and uninspiring album which, had it developed the pop-gospel theme further, could have been infinitely better.

  • Rating: 2/5.
  • Highlights: All Yours, Testify, Something I Need, Lions, Greatest Mistake (Deluxe Track).

Ben Haenow is available now on RCA/Syco records.

 

Ellie Goulding – Delirium Album Review

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

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

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

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

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

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

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

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

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

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

‘Delirium’ is available now on Polydor records.

Justin Bieber – Purpose Album Review

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The past three years have been a somewhat turbulent time for Justin Bieber. The former teen star descended into a very public meltdown, his once wholesome image tarnished by an extensive inventory of legal issues involving reckless behaviour, drug usage, dangerous driving and other general brattish behaviour. It appeared that Bieber was on a mission to destroy his career and disappear from the music industry, never to be seen again. 2015, however, has been a year of incredible transformation. His triumphant musical comeback has been a surprise to many; singles ‘Where are U now’ and ‘What Do You Mean?’ have been warmly received by critics and fans alike. It appears J-Biebz has got his life back on track.

Bieber really comes into his own on ‘Purpose’, an exuberant affair abundant with euphoric dance-pop. The bubblegum pop has been replaced by material which is far more mature and substantial in nature. It’s still undoubtedly pop music but it contains far greater depth, borrowing influences from EDM, tropical house and R&B.

Much of the album is in the same vein as the impossibly catchy ‘What Do You Mean’, built around electro/pitch-moderated samples, slick beats and breathy synths. Latest single ‘Sorry’ is a prime example, utilising squeaky synths and samba-like percussion to create a buoyant R&B track. ‘Company’, one of the album’s highlights, is a buoyant tropical-house flavoured track with bouncy percussion, breezy keys and vivacious dance bass riffs. It’s low-key but effortlessly catchy and reinforces that sometimes in pop music, simplicity is pivotal.

Elsewhere, the album is softer, mimicking slow-jam nineties R&B. Album opener ‘Mark My Words’ is an understated but effective introduction. Featuring little more than broken fragments of Bieber’s vocals and tender piano chords, it doesn’t particularly lead anywhere but it’s pleasant enough. ‘I’ll Show You’ is built around jittery high-pitched vocal samples and trap-like beats, resulting in a dark but effective R&B track. Dainty acoustic guitar arpeggios are the main feature of ‘No Pressure’, a waltz-like R&B track featuring a rap from Big Sean whilst ‘No Sense’ follows the same formula but is a little heavier. On ‘No Sense’, Bieber’s vocals have never sounded cleaner and they ride the minimal instrumentation beautifully. The song is let down however by an excessively auto-tuned and dispensable segment from Travi$ Scott. ‘The Feeling’, a collaboration with American singer-songwriter Halsey is another of the strongest tracks on the album, comprised of tremulous percussion and a catchy, melodic hook.

At times the album does come close to regressing back to Bieber’s bubblegum pop. Whilst an enjoyable addition, soft and heartfelt piano ballad ‘Life is Worth Living’ is rather saccharine and carries a naivety reminiscent of his earlier material. Likewise, Ed Sheeran collaboration ‘Love Yourself’ is a welcome break from the intensity of the album but does feel rather feeble compared to the rest of the album. ‘Children’ is the most EDM-influenced track on the album (aside from ‘Where are U Now’) but is one of the album’s weakest moments. The corny and frankly rather creepy lyrical content detracts from Skrillex’s scatty production and is reminiscent of Bieber circa 2011.

There is one efficacious ballad on the album, however. Title track ‘Purpose’ is a gentle piano ballad which closes the album beautifully. Whilst it is almost tarnished by the bizarre addition of spoken clips of Bieber discussing his personal life, it thankfully holds its own.

‘Purpose’ is the first of Bieber’s releases to finally serve as a true reflection of himself and his own musical influences. It’s bold, buoyant and enchanting from start to finish.

  • Rating: 4/5
  • Album Highlights: I’ll Show You, What do you mean?, Company, Where are U now, No Pressure

‘Purpose’ is available now on Def Jam records.

 

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.

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.

Selena Gomez – Revival Album Review

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The transformation of a former Disney star into a mature, credible pop artist was never going to be a walk in the park. Many have tried: Vanessa Hudgens, Miley Cyrus, Hilary Duff (one of the more successful acts who somehow managed to also retain her sanity) with varying results. Attempting to crack the music industry is not a new venture for Selena Gomez; her voyage into the world of pop music has been in full flow since 2009. What is new, however, is her attempt to promote herself as a viable adult artist.

Selena Gomez came to prominence as an actress in the Disney channel series “Wizards of Waverly Place”, appearing in the show until its conclusion in 2012. She then formed her own band, Selena Gomez & the Scene, in the hopes of achieving a successful crossover into music. After releasing three moderately successful albums, Gomez announced the band would be taking a hiatus to focus on other projects. Presumably ‘other projects’ was a euphemism to obscure her desire to be a star in her own right. Début album ‘Stars Dance’ was rapidly released in 2013 to mixed reviews, most of the negative focus placed on the generic production.

‘Revival’ is largely a continuation into maturity for Gomez. The teeny pop anthems have been replaced by pop influenced by bouncy EDM, tropical beach house and an overall far more mature sound. Littered with overt sex references, at times it’s all rather forced as Gomez does everything in her power to dismiss her Disney image and substantiate her new-found maturity.

Overall, however, it works rather nicely. First track “Revival” opens with Gomez reciting a poetic passage prior to the arrival of resilient beats and tropical house synths. It’s a  rather low-key introductory track but one which executes its purpose efficiently. “Hands to Myself” relies on minimal instrumentation, buoyant percussion and Gomez’s supple vocals whilst “Same Old Love” utilises moody piano riffs, hip-hop beats and Gomez’s honeyed vocals. “Sober” is reminiscent of some of Taylor Swift’s best work on ‘1989’, built around fidgety vocal samples, slamming ’80’s-esque percussion and jittering synthesisers. Sultry summer smash ‘Good For You’ maintains its ascendancy, abundant with sensuality, Gomez’s breathy vocals and assistance from A$AP Rocky whilst ‘Me & The Rhythm’ is a tropical-dance pop track built around catchy pop hooks and steel-pan-like sound effects. The album’s sole ballad ‘Camouflage’ is a stunning piano ballad; the album’s best fit for Gomez’s gentle vocals.

The album’s weaker points lie in the final three tracks.  ‘Survivors’ attempts to break into a club-friendly pop sound but falls flat. ‘Body Heat’ utilises Latin rhythmical influences and Spanish guitar strums but lacks character whilst album closer ‘Rise’ is a disarray of electronic elements.

The main flaw with ‘Revival’ is that Gomez fails to stamp her identity on the pop world. Whilst refreshingly avoiding the mainstream 80’s-pop revival currently very much present in the UK Singles chart, there is no innovation or trademark sound that emerges from it.

A step in the right direction but with room for improvement.

Rating: 3/5.

Revival is out now on Interscope/Polydor 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.