Good Stuff released 30th August 2010
Beyonce – “Why Don’t You Love Me?”
Sometimes I love Beyonce, sometimes I don’t. With this track, I absolutely love her! Here her work is the most fantastically perfect pop - very catchy, with an intricate and highly stylized video. I love the artistic direction in this video, and fuck me is Beyonce pulling out the big guns in terms of sexiness! She exudes a frank, aggressive and sultry style of sex, mixed with the classic appeal of 1950s’ glamour, which is also reflected in her vocal style. We all know Beyonce’s got a good set of pipes, but she really grinds her voice here, releasing desperation, anger and power whilst also exampling her formidable range. The lyrics are great too - arrogant and strong, combining female vulnerability and strength in the contradictory manner that only us females can truly master. I also enjoyed the deeply pitched piano and poly-rhythmic percussion. The best thing Beyonce has released in a while.
Bad Stuff released 30th August 2010
McFly – “Party Girl”
So this is McFly trying to reinvent themselves after being dropped by Island Record in 2007. Now whilst I wasn’t a huge fan of the original McFly package, they did have a certain pop-based charm that was light-hearted, upbeat and kind of fun. This new record is none of those things. It is still essentially pop based, but Taio Cruz’s influence as collaborator on this new track (and their subsequent soon to be released album) is clearly evident. This new track is very much American current pop in style. It’s produced within an inch of its life, and is utterly devoid of personality, spirit or humour, which is something you could at least say in defence of old-skool McFly. If it could be likened to anything, it does sound, bizarrely, a bit like a cheaper, shitter, boy-style version of Lady Gaga, with maybe a splice of Pendulum throw in. Weird, no? With the video additionally considered, it feels like they are really trying to get onto the next Twilight soundtrack. Check it out for yourselves:
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Monday, 30 August 2010
Tuesday, 24 August 2010
MORE THAN THE MUSIC POST (ALBUM REVIEW): She Makes War - Disarm
Disarm is the first independent, full-length release by She Makes War, a.k.a. Laura Kidd; multi-instrumentalist, session musician, and some-times singer of The Young Punx. Purveyor of grungy, lo-fi indie, She Makes War’s style of self-proclaimed “gloom-pop” tackles the disappointments of everyday life in a typically matter of fact fashion, revealing and discussing life’s negativities in a way that is solidly influenced by the 1990s grunge scene. Fusing Seattle’s style of nihilistic despondency with the aggressive yet girlish styling’s of the likes of Riot Grrrl bands, She Makes War creates guitar centric music with slices of post-modern synthetic sounds and feminine vulnerability.
Vocally, Kidd provides a variety of styles, typically layered in a manner that demonstrates well her vocal diversity and range, often creating an appealing tapestry of timbres and textures. Tracks such as Ghostsandshadows and (Love) Like Liars demonstrate particularly well how great her vocal work can be, and additionally, through these more sparse tracks Kidd often creates space for more instrumentally adventurous, dynamic fare. Lyrically too her work is good; at times there are flashes of excellence. For me though some of the tracks were a bit obvious in terms of subject matter. NIMN (Not in My Name), for example, felt like an obvious subject for aggression, addressed in an obviously aggressive way. I also grew tired of the general dystopian attitude of the lyrics at times.
Kidd is also a very talented guitarist; and can command her axe in a variety of ways; from slow, purged crunches to delicate acoustic melodies. Indeed, she is a good all round musician generally, and it must be said that Disarm is a competently composed, arranged and executed album. There are times when she creates an enjoyably diverse and interesting soundscape, although ultimately the softer, more subdued tracks are of superior quality. However, the strength of her influences is beyond tangible, and so rooted to the 1990s that it has saturated every aspect of this album, from guitar timbres to lyrical content, in a way that for me isn’t ultimately positive. Just a small twist away from the 90s towards more modern aspects of her music (such as her usage of certain synth timbres and cleaner vocal production) would turn Disarm from a good album into a great album.
See this post at More Than The Music: http://www.morethanthemusic.co.uk/album-reviews/she-makes-war-disarm/
Vocally, Kidd provides a variety of styles, typically layered in a manner that demonstrates well her vocal diversity and range, often creating an appealing tapestry of timbres and textures. Tracks such as Ghostsandshadows and (Love) Like Liars demonstrate particularly well how great her vocal work can be, and additionally, through these more sparse tracks Kidd often creates space for more instrumentally adventurous, dynamic fare. Lyrically too her work is good; at times there are flashes of excellence. For me though some of the tracks were a bit obvious in terms of subject matter. NIMN (Not in My Name), for example, felt like an obvious subject for aggression, addressed in an obviously aggressive way. I also grew tired of the general dystopian attitude of the lyrics at times.
Kidd is also a very talented guitarist; and can command her axe in a variety of ways; from slow, purged crunches to delicate acoustic melodies. Indeed, she is a good all round musician generally, and it must be said that Disarm is a competently composed, arranged and executed album. There are times when she creates an enjoyably diverse and interesting soundscape, although ultimately the softer, more subdued tracks are of superior quality. However, the strength of her influences is beyond tangible, and so rooted to the 1990s that it has saturated every aspect of this album, from guitar timbres to lyrical content, in a way that for me isn’t ultimately positive. Just a small twist away from the 90s towards more modern aspects of her music (such as her usage of certain synth timbres and cleaner vocal production) would turn Disarm from a good album into a great album.
See this post at More Than The Music: http://www.morethanthemusic.co.uk/album-reviews/she-makes-war-disarm/
Monday, 9 August 2010
HERE COMES EVERYONE POST: Singles of the Week (Best and Worst)
Good Stuff released 9th August 2010
The Drums – “Lets Go Surfing”
The more I get involved with The Drums, the more I like them. They are subtle in their intrigue and abilities, presenting a softly humoured and careless approach to the world. This particular track is just the perfect thing for this time of year; gently upbeat, fun, and most obviously, perhaps, about the ultimate summer pastime – surfing! Originally released last year on the group’s first EP Summertime!, The Drums fuse a post-punk mixture of influences such as Joy Division and The Smiths, but with a modern, nonchalant twist that could only originate in New York. And the track has whistling in it – I mean, what’s not to love?!
Bad Stuff released 9th August 2010
Metric – “Eclipse (All Yours)”
Metric are a bit of an odd band. They seem to have very little character to speak of, falling into the dull and over utilized category of an American, female fronted pop band with soft rock tendencies. They have no edge or intrigue to speak of of any kind, which perhaps explains why they have lent themselves so wholeheartedly to the Twilight franchise, as it gives them a more determined angle and demographic. Unfortunately that demographic is the sombre, fatalistic teenage girl, a type not well know for their discerning taste or emotional integrity. This track is pure indulgence for that type of girl. There is a lot of head-down vague ambling in the video, general emo references such as dark forests and too much eyeliner, and of course lovely Twilight clips interspersed throughout. Musically, this vibe continues, with thin, constricted vocals that are just weeping weak female emotivity, accompanied with typical “rock” instruments placed incredibly low in the mix. The focus here is on the female, but unfortunately it specifically aimed at female vulnerability, whether that is realised sonically, visually or narratively. In this way it really is rather regressive, pin-pointing the vulnerable group that is teenage girls (and women with adolescent tendencies) instead of empowered women that aren’t that into moping about. You have to give it to Metric though, they have fitted their track for Twilight well, too well, in fact, for most of us to enjoy or tolerate.
The Drums – “Lets Go Surfing”
The more I get involved with The Drums, the more I like them. They are subtle in their intrigue and abilities, presenting a softly humoured and careless approach to the world. This particular track is just the perfect thing for this time of year; gently upbeat, fun, and most obviously, perhaps, about the ultimate summer pastime – surfing! Originally released last year on the group’s first EP Summertime!, The Drums fuse a post-punk mixture of influences such as Joy Division and The Smiths, but with a modern, nonchalant twist that could only originate in New York. And the track has whistling in it – I mean, what’s not to love?!
Bad Stuff released 9th August 2010
Metric – “Eclipse (All Yours)”
Metric are a bit of an odd band. They seem to have very little character to speak of, falling into the dull and over utilized category of an American, female fronted pop band with soft rock tendencies. They have no edge or intrigue to speak of of any kind, which perhaps explains why they have lent themselves so wholeheartedly to the Twilight franchise, as it gives them a more determined angle and demographic. Unfortunately that demographic is the sombre, fatalistic teenage girl, a type not well know for their discerning taste or emotional integrity. This track is pure indulgence for that type of girl. There is a lot of head-down vague ambling in the video, general emo references such as dark forests and too much eyeliner, and of course lovely Twilight clips interspersed throughout. Musically, this vibe continues, with thin, constricted vocals that are just weeping weak female emotivity, accompanied with typical “rock” instruments placed incredibly low in the mix. The focus here is on the female, but unfortunately it specifically aimed at female vulnerability, whether that is realised sonically, visually or narratively. In this way it really is rather regressive, pin-pointing the vulnerable group that is teenage girls (and women with adolescent tendencies) instead of empowered women that aren’t that into moping about. You have to give it to Metric though, they have fitted their track for Twilight well, too well, in fact, for most of us to enjoy or tolerate.
Monday, 2 August 2010
HERE COMES EVERYONE POST: Singles of the Week (Best and Worst)
Good Stuff released 2nd August 2010
Arcade Fire – “We used to Wait”
An obvious choice perhaps – one cannot ignore the simply marvellous Arcade Fire when they release new stuff. The track starts off sparse, but it does grow in richness and timbral diversity as the song progresses. The beginning staccato piano chords are repetitive; yet work as a good hook. As the track develops, some interesting guitar sections enter, as well as some attractive female backing vocals. On a personal level, I’m not sure the vocal delivery has the same broken, vulnerable quality that we heard throughout previous Arcade Fire works, and perhaps this new track doesn’t have quite the same gentle grandiosity as Funeral did. The track does develop though, and swells in a way that is atypically soft and unassuming yet quietly captivating.
Breakbot – “Baby I’m Yours”
What a curious little item this track is. The accompanying video is gorgeous; a visual masterpiece of wondrous watercolour and fantastic animation. The sonic side of the track is slightly strange, but in a good way. The track really feels like a piece of 1970s disco-based soul. The music is upbeat and synth-bass driven, with multi-timbral percussion and androgynously falsetto vocals. You’d be excused for thinking Breakbot were from New York, possibly Brooklyn, as they were previously signed to the Moshi Moshi label, but actually these guys are French. Don’t even try to hold that against them though; they make some good English language hooks. A bit of a post-modern mix then, but this track is really rather nice, do check it out…
Bad Stuff released 2nd August 2010
Laura Steel – “Feedback”
I cannot figure out who would buy this, apart from 14 year old girls. The music in itself is a pretty standard weak pop does rock-chick thing, and doesn’t add anything to the genre sonically speaking. The lyrics are repetitive and based around a simple concept, with pronunciation taking on a typically American twang. It has guitars and drums, but the whole thing has been so over-produced and completely saturated with effects that you cannot really distinguish any separate instruments. It just has that rock sound, like the producer has just followed three simple instructions on the instant rock sound kit. Perhaps obviously, the only thing that does have any definition in the track is the vocals, but then it is pop, and the voice is what pop audiences want to hear. Visually it’s not a treat either. Steel looks like one of the nasty girls at school, whose favourite pass times were bitching and scratching each other’s faces with keys.
Ne-Yo – “Beautiful Monster”
Here, Ne-Yo perfectly exemplifies how R&B’s current romance with dance music often creates a whole lot of crap, life-less music. Both genres have the potential to create gorgeous music, but when combined, it’s very difficult to make music that moves away from the over-produced and the obvious. Both genres are so slick, so polished and POP, it ends up being really rather soulless. Here, Ne-Yo creates a track like you would expect. It’s so smooth – he’s so smooth, it’s just a bit dull. The subject matter is ever so typical of current male-fronted R&B as well; “heartfelt” crooning about some really sexy complicated lady. Its proper ladies man material; it just speaks to simplistic female desires of being loved for you who are (as long as you’re really gorgeous, being high-maintenance is ok). Fair enough, his voice is ok, but its not really anything different to that of Taio Cruz, Jason Derulo et al. But he’s pretty, and the music is inoffensive, so it’s sure to be popular.
Arcade Fire – “We used to Wait”
An obvious choice perhaps – one cannot ignore the simply marvellous Arcade Fire when they release new stuff. The track starts off sparse, but it does grow in richness and timbral diversity as the song progresses. The beginning staccato piano chords are repetitive; yet work as a good hook. As the track develops, some interesting guitar sections enter, as well as some attractive female backing vocals. On a personal level, I’m not sure the vocal delivery has the same broken, vulnerable quality that we heard throughout previous Arcade Fire works, and perhaps this new track doesn’t have quite the same gentle grandiosity as Funeral did. The track does develop though, and swells in a way that is atypically soft and unassuming yet quietly captivating.
Breakbot – “Baby I’m Yours”
What a curious little item this track is. The accompanying video is gorgeous; a visual masterpiece of wondrous watercolour and fantastic animation. The sonic side of the track is slightly strange, but in a good way. The track really feels like a piece of 1970s disco-based soul. The music is upbeat and synth-bass driven, with multi-timbral percussion and androgynously falsetto vocals. You’d be excused for thinking Breakbot were from New York, possibly Brooklyn, as they were previously signed to the Moshi Moshi label, but actually these guys are French. Don’t even try to hold that against them though; they make some good English language hooks. A bit of a post-modern mix then, but this track is really rather nice, do check it out…
Bad Stuff released 2nd August 2010
Laura Steel – “Feedback”
I cannot figure out who would buy this, apart from 14 year old girls. The music in itself is a pretty standard weak pop does rock-chick thing, and doesn’t add anything to the genre sonically speaking. The lyrics are repetitive and based around a simple concept, with pronunciation taking on a typically American twang. It has guitars and drums, but the whole thing has been so over-produced and completely saturated with effects that you cannot really distinguish any separate instruments. It just has that rock sound, like the producer has just followed three simple instructions on the instant rock sound kit. Perhaps obviously, the only thing that does have any definition in the track is the vocals, but then it is pop, and the voice is what pop audiences want to hear. Visually it’s not a treat either. Steel looks like one of the nasty girls at school, whose favourite pass times were bitching and scratching each other’s faces with keys.
Ne-Yo – “Beautiful Monster”
Here, Ne-Yo perfectly exemplifies how R&B’s current romance with dance music often creates a whole lot of crap, life-less music. Both genres have the potential to create gorgeous music, but when combined, it’s very difficult to make music that moves away from the over-produced and the obvious. Both genres are so slick, so polished and POP, it ends up being really rather soulless. Here, Ne-Yo creates a track like you would expect. It’s so smooth – he’s so smooth, it’s just a bit dull. The subject matter is ever so typical of current male-fronted R&B as well; “heartfelt” crooning about some really sexy complicated lady. Its proper ladies man material; it just speaks to simplistic female desires of being loved for you who are (as long as you’re really gorgeous, being high-maintenance is ok). Fair enough, his voice is ok, but its not really anything different to that of Taio Cruz, Jason Derulo et al. But he’s pretty, and the music is inoffensive, so it’s sure to be popular.
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