Best. Number 39. NAS & DAMIAN MARLEY “AS WE ENTER”
Here is a good hip hop track that has a few more roots in the old skool style of rap production than your typical noughties/teenies fair. It doesn’t take on boring repetitious hip hop mainstays such as obvious samples of well known tracks (ala Mr. K. West) or limp R&B femme fronted chorus vocals (ala Jay-Z et al.). Instead, it focuses on the palpable lyrical talents and rhymes of Nas and Marley, two of the best rappers on the US scene generally in my opinion, whose very different vocal styles works really well together in this track. Nas and Marley’s general presentation throughout is competent and strong, but they seem to also convey an enjoyment, and dare I say it a subtle, wry humour in their work which is so rare in the ultra serious tough guy business of being a modern day rap star. The backing track is good too; subtle and mellow, with a nicely obscure and subtle trumpet lick sample by Ethiopian musician Mulatu Astatke. Nicely understated, this track is a bit out of the loop with pop-hop that consumes the charts, and does a lot better for it, both aurally and ideologically.
Worst. Number 16. PRETTY RECKLESS “MAKE ME WANNA DIE”
Yawn. Pretty Reckless present us here with more boring, formulaic, and tiresomely melodramatic female fronted emo rock, atypically produced in a fashion that takes itself incredibly seriously. This track would fit in perfectly with any kind of Twilight soundtrack, with its humourless, stereotypical, surly attitudes, both lyrically, visually and musically. I’m not sure if Pretty Reckless think this track is edgy, rocking, hard-core stuff, but it really fucking isn’t. Its music for melodramatic teenage girls, who pretend to cut themselves ‘cause their parents just don’t understand them, yeah?’ Oh, and I obviously didn’t get the email that literal panda eyes, over-sized black leather jackets, suspenders and a curled lip was still a really sexy, edge, modern look. I really need to sort myself out.
Sunday, 23 May 2010
Sunday, 16 May 2010
One Minute Wonders: Singles Division. Best and worst for week ending 16th May 2010
Best. Number 26. RIHANNA - “TE AMO”
Hmmm – bit of a funny choice for me this. I’m not a big fan of Rihanna usually, but she has what must surely be a huge and highly competent production team behind her, and they sometimes manage to eek out stuff that is just undeniably good, even if it is very pop. Typically, the quality of her voice is my major beef with the star, as it often has an incredibly harsh, percussive timbre; here, however, within “Te Amo” she seems to have developed a softer, gentler quality that is much more appealing and suits the track well. The song’s minor key signature is also more interesting than some of her other down-beat stuff; “Umbrella” (ella ella) for example. What I really, really love in this track though is the accompanying synth melody and its timbres. The two intertwining synths are prominent, and are the most apparent element musically apart from Rihanna herself. The primary synth part has a late 80s pop quality and really makes this track stand out in an interesting and not too obvious a way. The Spanish guitars at the end can go though. Way to tacky.
Worst. Number 4. PENDULUM – “WATERCOLOUR”
To be fair to “Watercolour”, this is nowhere near the worst Pendulum track released. Indeed, the first thirty 30 seconds or so actually have some potential, in that they are gently melodious and restrained fairly far away from the house crap they usually pedal. But then at the first chorus this track lurches itself back into the awful, dated, frenzied Pendulum usual. Ultimately though, it must be said, I truly find pendulum bizarre. It the hardcore trance instrumental accompaniments are something that I just cannot stand. I have always always always hated trance, and as Pendulum seem to fucking love it, I really must hate Pendulum purely on this principle. Hard dance/trance is such a dated musical genre, and judging Pendulum purely on their haggard looks, they slot right in with the dated ethos. Additionally, not only is hardcore trance incredibly dated, it is also very unsatisfying, both to listen to and to dance to. Ultimately it really is appalling that a musical medium designed primarily to dance to is just so fucking fast it is too difficult to dance to. The ridiculous bpm of this and other such tracks would only be satisfying for mosquitos or people on a near fatal dose of speed.
Hmmm – bit of a funny choice for me this. I’m not a big fan of Rihanna usually, but she has what must surely be a huge and highly competent production team behind her, and they sometimes manage to eek out stuff that is just undeniably good, even if it is very pop. Typically, the quality of her voice is my major beef with the star, as it often has an incredibly harsh, percussive timbre; here, however, within “Te Amo” she seems to have developed a softer, gentler quality that is much more appealing and suits the track well. The song’s minor key signature is also more interesting than some of her other down-beat stuff; “Umbrella” (ella ella) for example. What I really, really love in this track though is the accompanying synth melody and its timbres. The two intertwining synths are prominent, and are the most apparent element musically apart from Rihanna herself. The primary synth part has a late 80s pop quality and really makes this track stand out in an interesting and not too obvious a way. The Spanish guitars at the end can go though. Way to tacky.
Worst. Number 4. PENDULUM – “WATERCOLOUR”
To be fair to “Watercolour”, this is nowhere near the worst Pendulum track released. Indeed, the first thirty 30 seconds or so actually have some potential, in that they are gently melodious and restrained fairly far away from the house crap they usually pedal. But then at the first chorus this track lurches itself back into the awful, dated, frenzied Pendulum usual. Ultimately though, it must be said, I truly find pendulum bizarre. It the hardcore trance instrumental accompaniments are something that I just cannot stand. I have always always always hated trance, and as Pendulum seem to fucking love it, I really must hate Pendulum purely on this principle. Hard dance/trance is such a dated musical genre, and judging Pendulum purely on their haggard looks, they slot right in with the dated ethos. Additionally, not only is hardcore trance incredibly dated, it is also very unsatisfying, both to listen to and to dance to. Ultimately it really is appalling that a musical medium designed primarily to dance to is just so fucking fast it is too difficult to dance to. The ridiculous bpm of this and other such tracks would only be satisfying for mosquitos or people on a near fatal dose of speed.
Sunday, 9 May 2010
One Minute Wonders: Singles Division. Best and worst for week ending 9th May 2010
Best. Number 26. MARINA AND THE DIAMONDS - “I AM NOT A ROBOT”
I know, I know, I have already put a track of Marina’s in these mini-reviews before, but the charts often offer such slim pickings, and this track is jolly good. Unlike her first charting track “Hollywood”, “I am not a Robot” really gives Marina’s voice room to flourish, as she experiments more with higher pitches and the grain of her voice. This track again has an ironic-moralistic ethos behind it; an incredibly refreshing thing in the world of glib innuendo and childish romanticism (aka Pop), but doesn’t stray into being preachy. The video too, directed by the photography god that is Rankin, is rather captivating, and shows off Marina’s natural beauty in a way that makes the rest of us femmes feel incredibly inadequate. The video and track have been around for a while, in fact “I am not a Robot” is actually a re-release from June last year, which goes to show how long it takes to work the charts sometimes. If you’re not familiar with her album, The Family Jewels, you should check out “Obsessions” and “Mowgli’s Road”, Marina’s other past single releases, which are also excellent.
Worst. Number 36. TRAIN – “HEY, SOUL SISTER”
Uh, seriously what an awfully soul-less this track is. Recorded by an incredibly dull American group for incredibly dull American people, Train is made up of aging rockers in their late thirties, who like many of their age have developed an unsavorily smug attitude towards life that is projected into their beyond MOTR style of crap. People in their thirties, it is often rumored, tend to mellow out a bit as they settle down into life, where both relationships and career are typically much more secure and steady than life is in your twenties. Unfortunately, being so bloody satisfied doesn’t really make good music. Some of the best music (written by young and old) is traumatised, angst ridden, passionate, volatile. Being American middle class thirty year olds is so decidedly sorted, so decidedly ok, that the music these types make is usually nothing but bland sonic experiences for bland boring people. And that’s what this track is; tame, sensible, sentimental, faux-soul by likewise people. I can’t get on board with something that is sonically and ideologically so opaque to real reality, so plain, so only OK.
I know, I know, I have already put a track of Marina’s in these mini-reviews before, but the charts often offer such slim pickings, and this track is jolly good. Unlike her first charting track “Hollywood”, “I am not a Robot” really gives Marina’s voice room to flourish, as she experiments more with higher pitches and the grain of her voice. This track again has an ironic-moralistic ethos behind it; an incredibly refreshing thing in the world of glib innuendo and childish romanticism (aka Pop), but doesn’t stray into being preachy. The video too, directed by the photography god that is Rankin, is rather captivating, and shows off Marina’s natural beauty in a way that makes the rest of us femmes feel incredibly inadequate. The video and track have been around for a while, in fact “I am not a Robot” is actually a re-release from June last year, which goes to show how long it takes to work the charts sometimes. If you’re not familiar with her album, The Family Jewels, you should check out “Obsessions” and “Mowgli’s Road”, Marina’s other past single releases, which are also excellent.
Worst. Number 36. TRAIN – “HEY, SOUL SISTER”
Uh, seriously what an awfully soul-less this track is. Recorded by an incredibly dull American group for incredibly dull American people, Train is made up of aging rockers in their late thirties, who like many of their age have developed an unsavorily smug attitude towards life that is projected into their beyond MOTR style of crap. People in their thirties, it is often rumored, tend to mellow out a bit as they settle down into life, where both relationships and career are typically much more secure and steady than life is in your twenties. Unfortunately, being so bloody satisfied doesn’t really make good music. Some of the best music (written by young and old) is traumatised, angst ridden, passionate, volatile. Being American middle class thirty year olds is so decidedly sorted, so decidedly ok, that the music these types make is usually nothing but bland sonic experiences for bland boring people. And that’s what this track is; tame, sensible, sentimental, faux-soul by likewise people. I can’t get on board with something that is sonically and ideologically so opaque to real reality, so plain, so only OK.
Sunday, 2 May 2010
One Minute Wonders, Singles Division: 2nd May 2010
Best. Number 22. 3OH!3 - “DON’T TRUST ME”
I don’t really know where I stand with 30H!3. The self-determined electro-hop group have never really previously grabbed my attention in anyway before, but seriously I fucking love this song! Is that ok? Are 3OH!3 even acceptable for me to listen to, let alone cool? I’m really not sure. Apparently there has been a fair old bit of controversy regarding this song with accusations of misogynous lyrics flying about all over the place. This is of course very uncool and icky subject, but I digress. “Don’t Trust Me” is incredibly catchy electro pop, with a fantastic chorus, and at times fairly accomplished lyrics. The electro timbres are fairly interesting and not too staid, and the production is tight and interesting. The delivery of the track is aggressive yet mischievous, and has the familiar tang of naughty American rich boys having fun, (think Blink 182, The Beastie Boys etc.). This vocal attitude is something I actually find very appealing, and the whole release, video included, reminds me distinctly of Electric 6. I just hope 3OH!3 really are being ironic with their “hoe” referencing here; otherwise the whole thing just turns into an misogynistic embarrassment.
Worst. Number 18. JUSTIN BIEBER FT LUDACRIS – “BABY”
This has always struck me as a messed up combination. Putting Justin Bieber, cutie pie extraordinaire and deranger of teenage girls everywhere, with aging dirty rapper Ludacris, letcherer of teenage girls everywh…. wait a minute, I’m beginning to see a pattern here… But seriously, what is going on here? Bieber’s music is really, really young, (this track is essentially about Bieber finding his first love for the first time), with young topics, young settings and premises, and really young (like pre-16 looking) girls. Generally this kind of music is awful for all grown adults, and rightly so as it isn’t aimed at us, so why the fuck is Ludacris getting involved? In both the video and the lyrics of the song, Ludacris seems to be acting as a mentor for Bieber, supposedly teaching him how to please girls, not to get laid. I think it seems so weird to me because Ludacris is seeming to treat Bieber like an equal musically, that it his music is legitimate on a general level and not just teeny bob. It is not. I it the worst kind of “youth” music, I’m not even sure Bieber’s voice is broken. He 16 for fuck’s sake, time to start growing up me thinks.
I don’t really know where I stand with 30H!3. The self-determined electro-hop group have never really previously grabbed my attention in anyway before, but seriously I fucking love this song! Is that ok? Are 3OH!3 even acceptable for me to listen to, let alone cool? I’m really not sure. Apparently there has been a fair old bit of controversy regarding this song with accusations of misogynous lyrics flying about all over the place. This is of course very uncool and icky subject, but I digress. “Don’t Trust Me” is incredibly catchy electro pop, with a fantastic chorus, and at times fairly accomplished lyrics. The electro timbres are fairly interesting and not too staid, and the production is tight and interesting. The delivery of the track is aggressive yet mischievous, and has the familiar tang of naughty American rich boys having fun, (think Blink 182, The Beastie Boys etc.). This vocal attitude is something I actually find very appealing, and the whole release, video included, reminds me distinctly of Electric 6. I just hope 3OH!3 really are being ironic with their “hoe” referencing here; otherwise the whole thing just turns into an misogynistic embarrassment.
Worst. Number 18. JUSTIN BIEBER FT LUDACRIS – “BABY”
This has always struck me as a messed up combination. Putting Justin Bieber, cutie pie extraordinaire and deranger of teenage girls everywhere, with aging dirty rapper Ludacris, letcherer of teenage girls everywh…. wait a minute, I’m beginning to see a pattern here… But seriously, what is going on here? Bieber’s music is really, really young, (this track is essentially about Bieber finding his first love for the first time), with young topics, young settings and premises, and really young (like pre-16 looking) girls. Generally this kind of music is awful for all grown adults, and rightly so as it isn’t aimed at us, so why the fuck is Ludacris getting involved? In both the video and the lyrics of the song, Ludacris seems to be acting as a mentor for Bieber, supposedly teaching him how to please girls, not to get laid. I think it seems so weird to me because Ludacris is seeming to treat Bieber like an equal musically, that it his music is legitimate on a general level and not just teeny bob. It is not. I it the worst kind of “youth” music, I’m not even sure Bieber’s voice is broken. He 16 for fuck’s sake, time to start growing up me thinks.
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