Tag: UK

The Japanese House – Clean EP Review

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

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

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

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

Rating: 4/5.

‘Clean’ is available now.

Little Mix – Get Weird Album Review

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Since their formation in 2011, Little Mix have undeniably taken the world by storm. They have sold five million singles and 2.5 million albums worldwide, overtaken The Spice Girls to become the first girl group to reach Number Four on the US Billboard chart and have become one of Simon Cowell’s most viable X Factor products. Not bad in the slightest for a manufactured girl band whose origins lay in the X Factor.

‘Get Weird’ largely follows the same successful formula as previous albums ‘Salute’ and ‘DNA’, on which a team of A-list songwriters are recruited to assist in the creation of a fierce pop album promoting girl power. The difference here is ‘Get Weird’ provides more scope by utilising doo-wop and 80’s synthpop influences – experimenting with a new sound.

Lead single ‘Black Magic’ opens the album triumphantly and despite its over-exposure, it is still a piece of pop perfection. Likewise, ‘Weird People’ replicates 80’s pop, utilising funky bass lines, catchy guitar riffs and heavily gated percussion. ‘Love Me Like You’ rather bizarrely mirrors ABBA and the material of StooShe featuring catchy ‘sha-la-la-la’ hooks and polished brass instruments whilst ‘A.D.I.D.A.S’ features doo-wop influences with elements of R&B.

The album’s softer moments provide a breather from the cheerleader exuberance and punctuate the album nicely. ‘I Love You’ is a gentle pop ballad featuring breathy, lovely layered harmonies whilst ‘Love Me or Leave Me’ is a pleasant piano ballad with powerful vocals. ‘Secret Love Song’, a duet with Jason Derulo fails to impress, however. Derulo’s auto-tuned wailing is unnecessary and is largely responsible for the track being one of the weakest points in the album.

Elsewhere, the album ventures into hip hop territory. ‘OMG’ sounds like a Chris Brown out-take and features meticulously programmed bass lines and synths whilst ‘Lightning’, a stand out track is rife with manic distorted synthesiser drops.

The album swings from 80’s Pop to Hip hop to Sixties Doo-Wop and this results in a confused affair at times. Whilst variety is welcomed, it’s rather manic which results in its inconsistency. Had it stuck with the 80’s Pop ‘Girls Just Wanna Have Fun’ theme exhibited so effortlessly on ‘Black Magic’, it would have been far more successful. Instead, it seemingly recycles the formula from previous two albums and whilst it is a step up from them, it lacks innovation.

An overall enjoyable pop album but one which falls short of its potential.

Rating: 3/5

‘Get Weird’ is available now on Syco/Columbia records.

 

Jess Glynne – I Cry When I Laugh Album Review

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

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

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

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

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

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

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

Rating: 3/5.

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

Music Monday – Volume Sixty One

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1) Aqualung ft Lianne La Havas – Eggshells

Haunting piece of electro-pop comprised of eerie synth sounds, soft beats, tinny guitars and fierce piano chords. La Havas’ soulful vocals and Aqualung’s excessively auto-tuned vocals are a surprisingly effective combination.

2) Years & Years – Memo

Stunning electropop ballad which closes Years & Years’ début album. Olly Alexander’s vocal performance is powerful and sincere as it drifts effortlessly over soft hip-hop beats, piano chords and distorted synthesisers.

3) Years & Years – Eyes Shut

Another beautiful gospel-influenced ballad with jazzy chords and soulful vocals from Olly Alexander. One of the highlights from Years & Years’ début album.

4) Years & Years – Ties

Years & Years doing what they do best; a powerful electronic piece with slamming beats, stuttering synths and sincere lyrics.

5) Seal – Kiss From A Rose

One of the most beautiful love songs ever written. Seal’s raspy vocals have a distinctive flare and powerfully soar above sweeping strings and acoustic guitar strums. It’s hard to believe this gorgeous ballad was not initially a success upon its release until it was included in the movie Batman Forever a year later. It’s also a shame Seal hasn’t maintained this level of success – his music is still just as well-written and powerful. One of the most underrated British artists around.

6) The Internet ft Kaytranada – Girl

A rich fusion of neo soul, electro and R&B with gorgeous vocals, shuffling percussion and littered with eerie sounds.

7) The Blue Nile – Sentimental Man

One of the most underrated bands of all time, not aided by their very limited output over a twenty+ year career. Gorgeous track from their 1996 album ‘Peace At Last’.

8) Nothing But Thieves – Trip Switch

LOVE this right now. Explosive track from Essex-born band Nothing But Thieves with a massive chorus. Conor Mason’s robust vocal delivery often drifting into his falsetto range really drives this powerful song.

9) Matthew Morrison & Laura Michelle Kelly – What You Mean To Me

Absolutely stunning ballad composed by Gary Barlow & Eliot Kennedy for the Broadway musical ‘Finding Neverland’. Matthew Morrison & Laura Michelle Kelly is a perfect pairing and their voices gel perfectly on this dreamy duet.

10) The Corrs – What Can I Do

Upon release in early 1998, this song wasn’t a hit until it was remixed by Tin Tin Out who added the punchy percussion and metallic guitar riffs. The remixed version was released in the summer 0f 1998 and became a massive hit. One of the greatest pop songs ever written with a syrupy sweet melody, gorgeous strings, a catchy beat and awesome vocals.

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.

Years & Years – Communion Album Review

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2015 has certainly been Years & Years’ well, year… The British electronica trio have witnessed two singles reach the top 3 (one reaching the Number One spot and the other soaring straight into Number Two, respectively), a number one album and a slot at this year’s Glastonbury festival.

Debut album ‘Communion’ is a pleasant, beguiling affair; a fusion of synth-pop, electronica and house music. Abundant with festival ready hooks, dreamy synths, squeaky bass lines and front man Olly Alexander’s wailing vocals, it differs from usual synth-pop band albums in that it avoids separating the edge usually associated with this genre and heartfelt music. It makes use of punchy backing tracks and lyrics bursting with sincerity, resulting in a mixed affair of successes and failures.

The album’s main successes are its most successful singles, the ever-endearing ‘King’ and detuned ‘Shine’ in addition to its ballads. Gentle synth-pop ballad ‘Eyes Shut’ utilises elements of gospel music, complete with jumpy piano chord changes and finger click percussion. ‘Without’ is a saccharine synth-pop moment but it works whilst closing track ‘Memo’ is heartbreakingly beautiful. There are other triumphs – ‘Worship’ is a genuine highlight with its dirty, punchy percussion and gospel-induced synths whilst second track ‘Real’ (which should have been the opening track instead of the dreary and uninviting ‘Foundation’) is memorable with its squeaky bass lines and stamping percussion.

Whilst it may challenge the norm associated with the synth-pop genre, it’s hardly innovative. The album’s main issue is that the more up-tempo tracks lack diversity and therefore become instantly forgettable. Moreover, whilst Alexander’s voice certainly transmits an enchanting vulnerability and uniqueness, there is the possibility this may not hold up quite as strongly live, free of the highly cherished auto-tune.

Nevertheless, the album contains enough charm to just about compensate for these teething problems. It is an enjoyable listen and serves as a fitting introduction to the band. Its utilisation of a range of genres is a charming device but this could be exploited much further.

It’s perhaps best to consider Years and Years as a work in progress but they are certainly one to watch.

Rating: 3/5.

‘Communion’ is available now on Polydor/Universal 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 One

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1) Still Parade – Fields

Found this on a Spotify playlist.  Rather haunting with soft vocals and a tinny guitar sound. Great song.

https://www.youtube.com/watch?v=Ltmv1L6BM1Y

2) Scarlet Pleasure – Windy

An irresistibly catchy, funky number by Danish band Scarlet Pleasure. The low-key chorus doesn’t make a big deal out of itself but it’s the scatty synths, driving bass and lead singer Emil Goll’s soaring falsetto that make it what it is. The synthesisers simulating the wind is also a clever trick. Can’t get enough of this right now.

3) Ryan O’Shaughnessy – Evergreen

Okay so this is apparently a Christmas song but it’s only loosely connected so I think I can just about get away with it! If you’ve read my previous Music Monday blogs, you’ll know how much I admire this guy’s talent. I really hope he goes onto good things. His début EP following his stint on Britain’s Got Talent fared well in the charts but I hope he’s able to experience a successful career. He deserves it, afterall. Very pretty song. This guy is so talented as a songwriter it’s unreal.

4) M.O – Preach

The UK’s hot new girl band. This is incredibly catchy. Absolutely love this.

5) Snoop Dogg – Peaches ‘n’ cream

You can hear Pharrell’s uncredited influence on this track with its retro production and old-school feel. Apparently he worked on the track but was uncredited afterwards. Charming! Love a bit of Snoop.

6) Hozier – Someone New

I know it’s an unpopular opinion but I never warmed to ‘Take Me To Church’ so I dismissed Hozier as an artist. How wrong I was. This is so soulful and uplifting it’s impossible not to enjoy listening to it.

7) Shura – 2Shy

I am unbelievably obsessed with this right now. SO chilled out, so late 80’s/early 90’s and SO Janet-esque. It’s like Janet Jackson herself has released an out-take from one of her first albums. It’s gentle, simplistic but pretty and really quite catchy.

8) OMI – Cheerleader

Just irresistibly catchy. Believe it or not, this was originally released back in 2012. The original version is good but it’s the Felix Jaehn Remix that makes it what it is and it’s this version that has shot into Number One all over the world.

9) Nickelback – Photograph

Love the chord progression in this. Great song.

10) Lawson – Royals

Not a fan of the original in the slightest (despite those pretty harmonies on ‘I rule’) but this chilled out, acoustic based version completely turns it on its head and completely revamps it. Lawson have an amazing talent in producing the most endearing, great covers and this is no exception. There’s a great summer vibe in this. Can’t get enough of this right now.

https://www.youtube.com/watch?v=dQ_IXKcDV4A

Music Monday – Volume Forty Five

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1) Circa Waves – Fossils

Cannot get enough of this right now. So, so catchy with a massive chorus. Love the chord progression too.

2) The Script – Man on a Wire

One of their best singles to date, ‘Man on a Wire’ is a powerful, emotive song. So glad The Script have released it as a single.

3) Joni Mitchell – A Case of You (Both Sides Now version)

A great song in its own right, Joni gives her classic hit the jazz treatment and it’s absolutely magical. Taken from her jazz concept album on which she covers classic jazz songs and arranges two of her best songs in a jazz style, this is just gorgeous.  Joni’s raspy vocals, stunning strings and the laid-back nature of it make it effortlessly beautiful.

4) Stateless – Bloodstream

A haunting, fantastic track.

5) Elbow – asleep in the back

An absolutely stunning waltz-like ballad from the band’s 2001 album of the same name. It’s soft, gentle and beautiful with minimal fuss. The piano arpeggios, gospel organ and gentle guitar strums along with Guy Garvey’s warm voice.

6) Elbow – Great Expectations

Another beautiful ballad by Elbow.

7) John Mayer – Belief

One of the greatest and most powerful songs ever written, in my opinion. John Mayer can do no wrong, musically. The fierce guitar, powerful drum pattern  and thoughtful lyrics make this an incredible song. The last minute always sends shivers up my spine.

8) John Mayer – Vultures

Another powerful song by Mr Mayer. Love that outro with the repetition of ‘Don’t give up, give up’.

9) Jeff Buckley – Everybody Here Wants You

Upon discovering this song, I felt a strange sense of de ja vu. It seemed so familiar but I can’t put my finger on where I heard it before. So soft and in true Jeff Buckley style, this is a wonderful, soulful song.

10) Mark Owen – Clementine

One of the best solo records by a Take That member ever, this is SO underrated. It’s cool, almost indie-pop with an irresistibly catchy chorus. SO good.

Music Monday – Volume Thirteen

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1)      The Days – Never give up

This came on shuffle the other day and I fell in love with it all over again. Never heard anything else by these boys but this is still SO good. So catchy and upbeat.

2)      Roxette – You can’t put your arms around what’s already gone

Another little song that popped up on shuffle! This band is so good – the album this is from is incredible. Great lyrics to this track.

3)      John Mayer – Vultures

A song I always overlooked until about a month ago. John Mayer is such an underrated writer. Amazing lyrics and I just absolutely love this.

4)      Simon Webbe – Free

Simon is of course a member of British boyband Blue. His debut solo album ‘Sanctuary’ is one of my favourite albums released, surprisingly enough. It’s just a perfect balance of upbeat and slow tracks and every song is fantastic. This is co-written by one of my favourite songwriters and I love how soft and beautiful this is.

http://www.youtube.com/watch?v=LZj_dNPiiD8

5)      BBMak – Next time

These guys were such an awesome band. Most of the current boybands would envy these harmonies. There’s not enough harmony in boybands these days in my opinion. Great little song.

6)      Pharrell Williams – Frontin’

This was on The Nixtape on Radio 1 and I forgot what an absolute tune it is! Pharrell is a genius.

7)      The 1975 – So far it’s alright

This = my jam. That is all!

8)      John Mayer – All we ever do is say goodbye

One of my favourite songs of all time. The lyrics are so perfect and so easy to relate to. I fell in love with this over a year ago and it just always reminds me of summer. It also, for some reason, reminds me of one of my favourite movies, ‘Brokeback Mountain’. I have no idea why this is but it makes the track even more special for me.

9)      Ronan Keating – Lost for words

Just really love the feel of this song. Lyric content is great too.

10)   Sam Smith – Leave your lover

I think Sam Smith is incredibly talented but every song he has released so far (aside from ‘Latch’ and ‘La la la’) has really annoyed me. I’ve been waiting for something to really impress me and not become irritating. Well he’s finally done it. This is so, so beautiful. So soft and delicate with fantastic lyrics.