THE GIRLS ARE POST: Neon Jungle - ‘Braveheart’

‘Braveheart’ is the sophomore single release from up-coming all girl outfit Neon Jungle. Following on from the group’s debut single ‘Trouble’, this latest slice of street-style cool sees the girls experimenting with a more club-friendly sound, with plenty of commercial, pop-friendly character.

Heralded by many as the girl band to save girl bands, Neon Jungle on first impressions appear like a fairly stereotypical urban girl band, with TLC comparisons easily drawn at first sight of the glam sportswear and attitude-laden faces. In actuality, however, Neon Jungle’s sound is more pop than their aforementioned counterparts, with catchy hooks and synth-lead timbres.

The girl’s first track ‘Trouble’ (which took them to number 12 in the UK Singles Chart), was particularly pop-driven, sounding young and accessible – almost like a Girls Aloud for 2014 at times. With ‘Braveheart’, however, Neon Jungle have developed a more mature sound that is contemporary, edgy, cool and fun. The track is ruled by a deeply dropped, thick bass line, alongside a rich beat that is utterly danceable. The girls have good voices too, with Asami mastering a particularly sweet voice that works pleasantly well amongst the harsh saw waves and dark synths that flood this track.

‘Braveheart’ is set for release next week on CD and download. The girls have just finished a string of tour dates (including a number supporting Jessie J), but are sure to have more scheduled imminently in 2014. Their debut album is also set for release later this year.

See this is at TGA here: http://www.thegirlsare.com/2014/01/14/review-neon-jungle/

HERE COMES EVERYONE POST: Albums of the Year 2013

Best Album of the Year:

The Electric Lady – Janelle Monae

Once again, Janelle Monae has wowed listeners with a complex, fully formed, and musically stunning conceptual album. Following on from her ravishing (and grossly underrated) 2010 debut The ArchAndroid, Monae’s sophomore album continues with more adventures of Cindi Mayweather in her Metropolis series, focusing on an alternative universe of machinery, cyborgs and technology. This album is once again ideologically complex, with the alternate universe being a metaphorical palette for issues including race, gender, religion and “the other” in a way that is trail blazing not only in the modern R&B milieu but in popular music generally. This is all completed seamlessly within a kicking sound track, with musical ambition, rich production, humour, instrumental diversity and a host of impressive guests (Prince being a personal favourite). This album is dirtier, looser, and more danceable, with less variance and mood changes than her first record, but this almost makes for a more consummate body of work, filled with drive, purpose and success.

Also Worth a Mention:

Sing to the Moon – Laura Mvula

This stunning album works more like a musical tapestry, interweaving a multitude of timbres to outstanding effect. Each of Sing to the Moon’s twelve tracks are utterly sophisticated compositions, with beautiful and unusual sounds weaving around Mvula’s softly soulful vocals in genuinely unique and innovative ways. A demure, delicately melancholic and musically dynamic debut.

Tally All the Things that You Broke - Parquet Courts

Tally… is a messy, roughly cut EP filled with joyful moments of whimsy and curiosity amongst the knarly guitars and knotted, throaty vocals. This upbeat body of work from Brooklyn miscreants Parquet Courts easily slots into the sexy/crude blues-punk vibe currently so popular in indie/hipster circles, but this is so successful and fun in its endeavours, with it’s tightly wound rhythm section, careless attitude and perfectly placed timbres, including an inspired usage of the recorder (oh yes!), it is hard not to love it.

Worst Album of the Year:

Bangerz – Miley Cyrus

An obvious choice, perhaps, but I really have found every single utterance, action and musical incident that Miley Cyrus has been involved with this year pretty abhorrent. This is not just a criticism of her music – effectively under-developed, R&B infused pop – it is a criticism of her whole conduct as a human being. And aside from the cover, which I kind of dig, this album is the justification – the vehicle for this problematic and offensive “star”. Miley has been so desperate to reinvent herself this year as an adult that she has indulged in incredibly crass and embarrassing behaviour, effectively becoming an international skidmark on the reputation of both women and the music industry in the process. Furthermore, the production of Bangerz is obscenely dull for a modern pop record, and every track is effectively filler. No Miley, go away and just rethink everything please.

Also Worth a Mention:

The Marshall Mathers LP 2 – Eminem

Remember when Eminem’s work was funny, irreverent, controversial and, well, good? No, me neither. Released 13 years after the famously excellent Marshall Mathers LP version 1, this sequel album could not be further in quality and ethos from its predecessor. Filled with showboating, harsh vocal acrobatics, and far more gratuitous, humourless anger that is fair for any successful multi-millionaire rapper to justify, this album is a complete disappointment.

AM – Arctic Monkeys

Oooh, controversial. Listed as NME’s best album of the year (for what that’s worth), for me the Arctic Monkeys continue to under-deliver. Both critics and audiences alike still seem to fawn over this band, who, aside from a handful of standout tracks are perhaps the most derivative act in present day popular music. Each supposedly innovative incarnation is yet another obvious rehash of another band, another genre, another time. Sorry, but they just aren’t that good.

See this at HCE at: http://herecomeseveryone.org/post/73618470598/2013-albums-of-the-year