Fleur East - Love, Sax & Flashbacks

Fleur East is a pop star, and she was as soon as she stepped out on stage in week one of 2014's Xfactor live shows and knocked out a brilliant rendition of Meghan Trainor's mildly successful 'All About That Bass'. Now one year on since she finished with a silver medal behind nice guy Ben Haenow she's back with her debut album Love, Sax & Flashbacks.

Preceded by the epic single 'Sax', you know it as the Asda Xmas ad soundtrack, the album is packed with energetic, frivolous pop fun. If an album is supposed to be an expression of an artist's true self, their experiences and their current state of mind then Fleur has been living the life for the past 12 months. She sings about being ditched in a club by a love interest on 'Breakfast', then potentially pulling one of his attractive friends to end the night on a high note. The song is laced with mild 80s influences, a sound that explodes on 'More and More', a pop masterpiece that echoes Whitney Houston from start to finish.

The entire album has a retro flavour, the aforementioned 80s numbers more so than anything else, but there's nostalgia throughout. Classic pop smacked together with the horn arrangements that made Sax so punchy shine bright on 'Gold Watch', the album's strongest chapter. Fleur chants 'What's the time Mr Wolf?' above a thumping pop arrangement so exhilarating it could become a staple party hit, should her career continue on for years to come.

Fleur's voice isn't powerful, but it is distinct, smoky and pleasant. Her vocals are solid throughout, she knows her limits, however when she raps its glorious. When she bites on 'Love Me or Leave Me Alone' it's brilliant and her turn on the verses of Jackson 5 sampling 'Kitchen' is convincing, before the middle eight kicks in and she chants 'Tina Tina Tina Turn-up'. Given what I said re her vocals, her best performance is on 'Over Getting Over You', a pop-dance campfest with synths and chants in abundance; even a reference to the youtube sensation 'Ain't Nobody Got Time for That'.

Love, Sax & Flashbacks isn't perfect and at times the production comes off a little cheap. It is fun though and it's refreshing to have someone take it back to the dance floor and approach the industry as a performer. Whether this is a strong enough album to connect with the Ed Sheeran, Adele loving British public remains to be seen but one thing is certain, it's the birth of a star.

3.5/5

Adele - 25

When the lyrics from the opening verse of Adele's behemoth new single 'Hello' were spoken atop a black screen in the commercial break for the 2015 X Factor, the internet went into cardiac arrest. The unmistakable voice of our greatest musical export was the Christmas present everyone wanted but didn't expect. Within a fortnight information was flowing out of Adele's camp and most notably that of a new album, following her timeline theme, titled 25.

The album sticks to what Adele does best, lovely, pain filled balladry about decimated relationships. There's a maturing in the sound though, so it doesn't ever feel like a rehash of 19 or 21, which is a relief. Where she's singing about craving a lost love it doesn't feel bitter and 'I Miss You' is a gorgeous example. Thumping percussion and haunting vocal flutters decorate an incredibly emotive performance. Then you have the Ryan Tedder collaboration 'Remedy', a radio friendly piano lead number with one of the most memorable melodies in Adele's catalogue of work.

Tedder isn't the only big name helping with this opus, Adele's also roped in the likes of Bruno Mars, Sia producer Greg Kurstin and Swedish pop wizard Max Martin (responsible for 'Baby One More Time'). Her store of musical talent is brimming and the results reflect the calibre of those penning the lyrics and twiddling the studio knobs. Kurstin produced Sia's massive 1000 Forms of Fear, his knack for haunting penmanship clear on colossal single 'Hello' which features one of Adele's most authentic and mind blowing vocal turns. He has input on the heartfelt and revealing 'Million Years Ago', soaring vocals above a stripped string arrangement that wouldn't have been out of place on 21. It's a stunning reflection on Adele's journey and the life she's lost in becoming the most successful artist on the planet. However, it's on 'Water Under the Bridge' that Kurstin's skills shine through most brightly. The tempo jumps and the synth clicks and blips explode on the euphoric chorus as Adele sings "Say our love ain't water under the bridge", on what may be one of the top five songs Adele's ever created.

Adele's voice is her instrument, it's what carries you through an entire album without skipping. When that's combined with incredible productions you have the recipe for perfection that so many artists can't get a grip on. 25 not only showcases how much her vocal range has expanded (the emotional 'When We Were Young'), it also showcases a slight change in direction or at least brief detour here and there. Max Martin's presence seems baffling at first but the result is the wonderfully infectious and bouncy 'Send My Love (To Your New Lover)', the most fun Adele has ever seemed to have on any of her three albums. It hops along with a reggae-pop bounce and the catchiest chorus on 25. Then you have 'River Lea', a collab with one half of Gnarls Barkley and what an effort it is. One of the year's most impressive songs and when she drops into the low octaves for the bridge you're engulfed completely.

With 30m copies sold, 21 was always going to be a tough album to beat. Well, it would be if you were anyone other than Adele. She is replicating the success of the likes of Madonna and Mariah Carey, artists who sold 10m copies per album consecutively, something few every achieve even once in their career in the 00s. Her general likability and the relatable material she continues to pour out into the world, a self exposé of sorts, plucking the heart strings of music lovers all over the world. 25 is a step forward enough to cement it as a body of work in its own right, with producers you'd never expect Adele to pair with and sounds you'd never think you'd hear on an Adele album. It was both expected and not expected, with her heartbreak ballad crutch still popping up here and there, but there's enough new here to make it a brilliant stage in her remarkable career.

5/5

Cloves - Frail Love

Being out of the loop for a lot of 2015 I’ve missed a lot of very good music. Now I’m in a pile up of gorgeous vocals, synths, FKA Twigs’ thrashing experimentalism and the cherry, or should that be the clove on top? 19 year old, Melbourne born, songstress Cloves (real name Kaity Dunstan) sits somewhere between the noir queen quirks of Lana Del Rey and the soulful serenades of Adele. Her debut single ‘Frail Love’ dropped on Soundcloud back in August and it’s breathtaking. Amidst the long flowing brunette locks and supermodel proportions, there’s a significant vocal force. Every lyric feels just as important and emotional as the last and Cloves performs atop sorrowful piano keys with a self assurance that sets her decades ahead of her actual experience.

Sigma - Coming Home (Featuring Rita Ora)

Sigma blew up the charts when they hit number one with 'Nobody to Love' in the spring of 2014. The song went on to become a summer anthem and then they got hold of Paloma Faith, stuck her incredible vocals atop 'Changing' and BOOM, had themselves a second consecutive chart topper. Since then they've collaborated with 'Earthquake' hitmaker Labrynth and Xfactor contestant Ella Henderson, but now it seems they've got the top spot in their sights once more with new single 'Coming Home', featuring vocals from talent show judge adulteress and occasional song releaser Rita Ora.

Ora's donated her vocals (she's probably paid very handsomely) to the likes of Iggy Azalea, DJ Fresh, and Charlie XCX in the past with great results. Coming Home is no different. It's a heady, escalating Drum & Bass - pop concoction with a sweet sentiment and Ora's vocals are emotive, emotional and convincing throughout. The song really comes into its own on the chorus, easily identifiable as a Sigma arrangement with Ora's voice layered atop a choir (or lots of very good backing singers) as the beat drives you upward into space. Very good stuff.

5/5

Fleur East - Sax

When Fleur East finished second to Ben Where Haenow in the 2014 Xfactor final I wasn't as angry as I thought I would be. I expected sparks to fly from the foot shaped hole in the flat screen, but it remained unscathed. The format has a habit of crowning winning failures and its eliminated alumni surpass the performances of their vocal chord stretching assailants (ref. Rebecca Ferguson). I knew, when that silver medal was handed over (there are no medals), that this was in fact a win for Fleur's future in the music business and going by how amazing she is as a pop star in training, a win for pop fans all over.

Now she's finally here, with her first ever single 'Sax' in tow. Lifted from her upcoming debut album Love, Sax and Flashbacks, it's a euphoric brass explosion, bursting with sass, snappy verses and a breakdown Mark Ronson would be proud to call his own. It's certainly reflective of 'Uptown Funk', a song Fleur actually put on the map (kind of), but the similarity isn't an issue when it's such a brilliant result. It'll be interesting to see if this is a one off success, because it will be a success. I really hope it is a sign of great things to come though.

5/5

Miguel - Wildheart

Contemporary R&B and Hip Hop is male dominated, let's not pretend it isn't a male directed genre. Yes you've got the commercial powerhouse of Nicki Minaj and the questionable talent of Iggy Azalea, but although these women may be raking in the moola for their craft they exploit their sexuality to garner attention. They play into the hands of misogynism, perhaps without realising and to an extent in complete denial. They are not exempt from the derogatory message sent by Chris Brown's 'Loyal' and the tacky sexual charge of Jeremih's 'Down On Me'. Miguel's always been a little left field as far as conforming to the ideals of the genre and his inability/refusal to fit in is no clearer than on 'what's normal anyway' from his third studio album Wildheart. The song features the lyrics "Too immoral for the Christians/ Too moral for the cut throat/ Too far out for the in crowd..." and his soulful harmonising emotes a genuine desire to fit into some archetype, but all the while he challenges this with the poignant "don't let them change you'. He wants to fit in but isn't willing to compromise his morals and more than anything, his musical direction.

New Single > Little Mix > Black Magic

On 10 July you'll be able to buy the new Little Mix song 'Black Magic'. You should do this because it's brilliant and will no doubt make you feel fulfilled with every listen. As far as reality tv acts go, the Little Mixers are a pretty incredible pop group, their last album Salute was/is an absolute triumph from start to finish. Seriously, it is pop perfection. 

'Black Magic' has a retro pop flavour, the girls' soulful harmonies perfectly executed atop a light and fluffy pop arrangement that could force even the stoniest of faces to crack a smile. If their upcoming fourth album follows this quality we'll all be put under their spell once more.

New Single > Demi Lovato > Cool for the Summer

Demi Lovato's 'Cool for the Summer' is here and fans everywhere can breathe a sigh of relief as it's very good. It's the most radio friendly, chart ready single she's released since 'Heart Attack' and it's bound to pick up heavy airplay with its thumping, roaring electro synth laden chorus and confidently lyrical delivery.

There are echoes of Katy Perry here and apparently it could be about a lesbian tryst: "Take me down into your paradise / Don't be scared cos I'm your body type / Just something we wanna try cos you and I/ We're cool for the summer." Lesbian jiggery-pokery or not, this is great. I love it, you (should) love it and everyone loves it so that's the end of that chapter.

You can listen to it here.

Alert > Demi Lovato > Cool for the Summer

Can we all just stop what we're doing and look at this?

Here are five things we can gather from this artwork for Demi Lovato's new single 'Cool for the Summer' which, by the way, debuts next week (!):

1. Demi's going down a sex to sell records route. It was bound to happen sooner or later. 

2. The song will, more than likely, be very good, fun and summery (hazardous guessing).

3. It will get a remix with Nicki Minaj.

4. It will precede an album of other very good pop songs.

5. The video will feature Demi covering herself in factor 50, the advocate for skincare that she is. 

Watch this space. I'll be reporting back with a review of 'Cool for the Summer' next week on July 1.

New Song > Lianne La Havas > What You Don't Do

Another song has dropped from Lianne La Havas' upcoming second album Blood, which is out July 31. It's called 'What You Don't Do' and it's just as likeable and infectious as its predecessor 'Unstoppable', except this time it has a little bounce in its step. You can get this song automatically when pre-ordering Blood. Pre-order here.

New Song > Janet Jackson > No Sleeep

Seven years it's bloody been, yes seven since Janet Jackson sister-of-Michael released an album. Her last opus Discipline wasn't her best and really, none of her material has been particularly ground breaking since The Velvet Rope and some of All For You. With the announcement of her 11th album Unbreakable, due this Autumn and a supporting world tour I'm surprised I am still alive to post this. 

The first single to drop from Unbreakable is 'No Sleeep', a lovely R&B slow jam with smooth production and a solid middle-eight courtesy of longtime producers Jimmy Jam & Terry Lewis who have produced 9 of Janet's #1 singles. It's a little reserved for a first single but it echoes the likes of 'That's the Way Love Goes' on Janet and some of the softer tracks on The Velvet Rope with its seductive delivery. This new album is really important to maintain her status as a relevant pop act, and with Madonna floundering around in desperation to fit in with a younger generation of stars there's a spot in the market for a legend to rise again. 

Flashback > Mutya Keisha Siobhan > Flatline

It's been almost two year since this came out. Can we all just take a moment to remember how excited we were to hear the preview on Soundcloud? I'm taking my moment now... 

Album Track > Mutya Keisha Siobhan > Back In The Day

This little blighter dropped onto Youtube back in February and I did not know anything about it until recently. Mutya, we exchanged glances and a wave at your gig in 2013, I expect to be kept informed of these major events. Anyway, it's time to forgive and forget. Rumors have been flying all over the place since MKS / The Original Sugababes made a comeback in 2013 with the ridiculously high quality 'Flatline', a song that criminally staggered to number 50 in the charts but should have spend a year at number one. That's life. Since then it's all been quiet but some people say they're holding off the release of their complete 'debut' album until Amelle, Jade and Heidi give up and head down to the job centre so that MKS can ditch the shit name and take back what's rightfully theirs.

The album track that's come to light is 'Back In The Day', a stunning ballad not far from the style of their original debut album One Touch, with a simple arrangement and those staple harmonies that other groups wish they could master. Siobhan's voice stands out and it really gets you excited to hear the bound-to-be-fantastic album that's just crying out for a release. 

New Single > Sinead Harnett > She Ain't Me

I'm a little ashamed of myself for not spotting the talents of London singer/songwriter Sinead Harnett sooner. She's been knocking around since 2013, releasing her own cuts like the gorgeous 'Got Me' and 'No Other Way', as well as making an appearance on Disclosure's Settle on the understated 'Boiling' and Rudimental's Home on the escalating 'Hide'.  She's been penned as the 'experimental Adele', but honestly I don't hear much vocal similarity and let's leave Adele as Adele. I hear echoes of Jessie Ware, the stripped and throbbing R&B inspired beats merged with a James Blake esque electronic experimentalism. 

Her voice hums with raw emotion and this is conveyed perfectly on new single 'She Ain't Me'. You'd  be forgiven for presuming this would be a run of the mill R&B assault on the upper echelons of the charts, but actually its reserved production and haunting vocal echo make this one of the most exciting tracks I've heard in 2015. I can only imagine when an album does surface that it will be glorious.

New Single > Joss Stone > The Answer

I've always had a soft spot Joss Stone, even when people turned their back on her for 'that' American accent I kept on listening to her sultry smoky tones and soul vibes. It seems people are easily pissed off because she's more talented than the majority of drivel that finds its way onto the airwaves today. Her new single 'The Answer', lifted from her upcoming album Water For Your Soul combines her trademark soul with Brazilian baião, a welcome accompaniment to her expertly executed vocal flutters, cracks and roars.

The organic authenticity of Stone's last original album LP1 continues here, vocal tinkering nowhere to be heard and I don't think I detected one synth amongst the live sounding arrangement. The song takes a couple of plays to get into, but once you've soaked it up it's an infectious summer number with a gorgeous crescendo of fiddles and a gospel choir.

'The Answer' is out now and you can hear it here.

Water For Your Soul is out on 17 July.

New(ish) Single > Florrie > Too Young To Remember

Florrie (known on her Passport as Florence Arnold) is a brilliant pop star in the making, but already a great pop star in her own right. With an armory of brilliant pop songs and an obvious knack for writing, producing and singing words it's criminal she hasn't cracked the top ten yet. Then again, as long as the music's great what does a chart placing matter eh? 

Her latest single Too Young To Remember dropped from the musical womb a couple of months back and I missed it in my blogging hiatus. It has something to do with H&M and an ad campaign I'm sure. What a catchy number to miss, what a fool I was/am. It's a step back to her pure pop ways, away from the loosely structured electro-synth-artsy brilliant EP Sirens in 2014. It's playful, has a killer hook and it's one of those pop songs that slaps a smile right on your miserable f*cking face. It's also got a doo doo doo bit in it. What's not to love?

New Single > Lianne La Havas > Unstoppable

The new single from London born singer/songwriter/multi-instrumentalist/all round amazing music person Lianne La Havas is called Unstoppable and it is gorgeous. It's a step away from the folk-soul chants of her debut album Is Your Love Big Enough? but retains the same vocal smoothness that glittered throughout the opus. It's an instant charmer, gorgeous emotive vocal meandering atop a slow throbbing bass line and a seductive vintage soul arrangement. Unstoppable is the first single to be lifted from her upcoming sophomore album Blood which, if this is anything to go by, will be amazing. 

Unstoppable is available to savour here.

Blood will be released in the UK on 31 July.

5 / 5

New Single > Leona Lewis > Fire Under My Feet

Leona's last foray into the charts was her brilliant, underrated festive album Christmas, With Love which spawned number three future Christmas staple One More Sleep. Her third album Glassheart was a bit of a flop in the UK, not that it was bad, it just wasn't very Leona and the step toward a more electronic heavy sound smothered her already faint personality. So what do you do when Simon Cowell is extinguishing your creativity, a flare no one knew you had? You sack him. Leona moved from Syco to Island, a much better record label and the results are very impressive.

Her new single, the first to be lifted from her upcoming fifth studio effort I Am is called Fire Under My Feet and it is the Leona song we've been waiting for. She wrote it herself with the help of Toby Gad (mastermind behind Beyoncé's If I Were a Boy) and it's so Ella Henderson that Ryan Tedder must be twiddling knobs somewhere in the mix! From the acapella opening to the anthemic chorus and thumping folksy pop beat that carries you to the vocally explosive climax, this song should put Leona back on top.

5 / 5

Charles Hamilton & Rita Ora - New York Raining

Collaborator extraordinaire Rita Ora is back with her new mate Charles Hamilton and their romantic ode to retro R&B New York Raining, a song that she sings acapella on the new Samsung phone advert on the telly. It's a lovely number, Rita's vocals soulful and flawless throughout her stint on the chorus. Maybe she can hurry up and release her next solo album now because time (pop fans) wait for no one. 

4 / 5

Conchita - Album Review

Loreen's Euphoria is the best Eurovision song of all time and there are few who would challenge that bold, but right, claim. The usual collection of camp pop fare was obliterated by this immense pop song and it seemed like no other winner could trump it. So far they haven't, but in 2014 something more important than a 'pop moment' happened, a gay man dressed as a woman with a beard took home the coveted glass trophy and sent social and political waves hurtling across Europe, sending the likes of Russia into a panic over the future of the European continent. One Russian politician spat, "There's no limit to our outrage. It's the end of Europe" and on the other hand the liberal countries proclaimed their support, loud and proud. Thomas Neuwirth's Conchita Wurst was not only now the most talked about future popstar but also one of the most socially and politically relevant; a startling reflection of the tempestuous relationship that still exists between society's acceptance of gender and sexuality 'differences'.

Sia - Big Girls Cry

Sia's 1000 Forms of Fear album campaign has been her most successful to date. It's the most commercially present she's ever been and the majority of the songs on the album are exquisite. I've gotten used to the covered face now and I've forgiven the pretentious nature of that particular gimmick given that the quality of music is so high. However, Sia, you have a lovely face so please take that bloody wig off, turn around, and address your loyal subjects. 

Digital music has really buggered the single release structure of old. Chandelier was the first single (what a behemoth it is too) and now fourth single Big Girls Cry was actually the third single and its predecessor Elastic Heart the fourth. Christ Almighty. Anyway, new(ish) single Big Girls Cry is one of the highlights from 1000 Forms of Fear. Sia's vocals soar throughout, overwrought with emotion, every undoctored crack in her voice heightening the authenticity of the experience. "I may cry ruining my makeup/ Wash away all the things you've taken/ I don't care if I don't look pretty/ Big girls cry when their hearts are breaking..." she sings over harmonic layers and a thumping beat. It's got just as much charm as the singles that came before it and is destined to be mauled by talent show contestants in the near future; thank you Simon Cowell.

5 / 5

Britney Spears & Iggy Azalea - Pretty Girls

The Britney Spears of yore is gone, we need to accept that. We'll never have a charismatic, intricate dance sequence ever again, just a repetitive array of hair flips and arm movements. It's a sad time. However, as a recording artist, she's still popping out some decent radio friendly tracks and her latest outing, a duet with untalented Australian deliverer of lyrics Iggy Azalea, is about as radio friendly as pop gets.

It's a bit of a poor man's Fancy, the brilliant Charli XCX collaboration that put Iggy on the map last year, however it's the most engaged Britney has sounded in a long time, particularly when she harks back to her vocal glory days (well...) with some harmonising over Iggy's actually quite enjoyable middle-eight. It all feels a little too contrived though and as I suggested, a rehash of what's come before as the duo 'sing' "All around the world pretty girls/ Jump the line to the front/ Do what we like get what we want/ We're just so pretty..."I'm sure it's all tongue in cheek, like the ridiculous music video, but in this world you never know.

2.5 / 5

Janet Jackson - 2015 Comeback

Janet Jackson made an announcement via the antiquated medium of social interaction that is Twitter on 16 May and here it is:

My conversation... #ConversationsInACafe https://t.co/buOK6ZhfHY

— Janet Jackson (@JanetJackson) May 16, 2015

This announcement is exciting and to a Janet Jackson fan such as myself (mildly obsessed) this whole thing could give me an aneurism. Let's hope it doesn't because if I die before I see her live I'll be really annoyed. Here are five of JJ's best songs (and videos) to get you into the movement, get you moving and get you excited for her return:

Rhythm Nation

If

Ella Eyre - Together

Ella Eyre is quite a remarkable popstar in the making. From her solo debut Deeper two years ago hitting a peak of 72 to the success of her last (epic) single Comeback which climbed to number 12. In fact her singles have charted higher with each release and with the stunning 'Waiting All Night' collaboration with dance giants Rudimental under her belt, she's not going anywhere. 

The quality of her material has never wavered from good-upwards and her fourth solo effort Together is as memorable and exhilarating a listen as its predecessor. Eyre's vocals are soulful and more emotive than you'd expect from a 21 year old at the beginning of her career and it raises the question, just how bloody good are you going to be in ten years time? Probably very bloody good. In a market saturated with female voices, it's very telling when you know instantly the sound of a particular singer's voice / production. Here, her vocals are as gorgeously raspy as ever as she erupts on the bridge "we are more together". 

4 / 5

Watch the video here

Ciara - Jackie

Ciara showed up her critics with her self titled opus back in 2013. Ciara was an R&B masterpiece from start to finish, an array of sensual slow jams, gritty underground beats and an introduction to Ciara the rapper. It was a flashback of sorts, taking you to a time when R&B was the governing commercial genre, but she injected enough modern woman sass to make it relevant in the electronic synth dominated market. 

What was truly refreshing about Ciara, aside from not having one skippable track, was that it stepped away from the hyperactive psychobabble of her past efforts. That's not to say her earlier music is without charm, it's just highly inaccesible on any level other than a superficial one. This change worked for her, an artist who was never able to maintain a steady grip on the charts once again became commercially viable as the album reached number two in the United States. 

Ciara's sixth album Jackie doesn't continue the tone of its predecessor, nor does it match or improve on the quality. Opening track Jackie (B.M.F) opens like a West End ballad, before Ciara demands "Harmony drop that beat" and instantly the vibe is transformed into a mildly annoying rap segue with Ciara stating she's a "bad mother f*cker" for delivering a 9lb 10oz baby. The track drops another beat at around the two minute mark and becomes a bit more Ciara and one of the album's most memorable moments. You'd think that the album would continue in this vein, with the theme of motherhood and Ciara just being badass (if not coming across a tad self indulgent). Therein lies another issue. The album doesn't have a clear theme or message, the sounds changing too much between shallow pop and serious odes to an ex. If you're naming your album after your mother, I expect a moral to the story. 

Madonna - Rebel Heart

From the disco reviving behemoth Confessions On A Dancefloor to the hyperactivity of MDNA, Madonna hasn't managed to match her own musical quality over the past ten years. Confessions was an incredible album, from start to finish, yet the two albums that followed didn't sate even the die hard fans. With questions over her relevance in the contemporary pop market, even though she sells out world tours faster than Rihanna releases albums, it felt like now would be a good time for Madonna to release an album that was both relevant but also very much 'classic Madonna'. 

Her 13th studio album, Rebel Heart, is a huge improvement on her past two collections. Lead single 'Living For Love' is a camp dance thumper with an exhilarating chorus and powerful vocal performance and it serves as an exciting introduction. Don't be fooled though, this doesn't set the tone for the album, in fact the production is far darker than this single delves. There are even forays into past musical explorations which didn't work well then but seem to be executed perfectly this time round. The hip hop infused bleeps of the ridiculous 'Illuminati' and the rumbling 'Iconic' are actually welcome additions to Rebel Heart, giving the album an injection of adrenaline when it could have been too 'ballad' heavy.

Ciara - I Bet

Ciara's self titled last album was, to put it simply, brilliant. An album without one dud is hard to find in the pop scene and Ciara's movement away from the hyperactive psychobabble of her earlier songs to a smoother, sultry R&B sound proved to be a winner. Since that album graced our lives she's been on a hiatus, had a baby and apparently almost finished recording her new album Jackie. 

The first single to be lifted from her new collection is 'I Bet',which was released back in January. The annals of Ciara's career show that marketing isn't her team's forte which explains why I knew nothing about this track until a week ago. 'I Bet' is produced and written by Ciara and R&B knob twiddler Harmony "H-Money" Samuels who has worked with the likes of Mary J Blige and XFactor USA false starters Fifth Harmony. It's a strong comeback, maintaining the soft R&B jam vibes of Ciara and its one of the most revealing musical ventures she's recorded to date. Singing about a failed relationship, I imagine her breakup from her baby daddy Future, Ciara's vocals are controlled expertly and a growth in range is obvious. It's a great comeback. Whether it will give her the hit single she needs isn't certain, but it seems like she might have to be content with being a successful 'underground' R&B artist going forward, releasing amazing music that not very many people will be exposed to. As long as she continues to release music of this calibre though, who gives a shit?

4 / 5

Mumford & Sons - Believe

Mumford & Sons never 'split up', let's just get that straight now. I'm going to call it a creative hiatus, because that's what an incredible band does, they take time out of the spotlight to write and record beautiful music. They're one of the most likeable folk bands of the past decade, their music skillfully balancing classic folk arrangements with a contemporary edge. Following on from their last, behemoth success of an album Babel, they're back with a new single called 'Believe', from their upcoming opus, Wilder Mind. 

It's a step forward sonically, ditching the acoustic folk sounds we're used to hearing in favour of an electronic arrangement and Marcus Mumford sounds as authentically impassioned as ever as he sings "I don't even know if I believe / everything you're trying to say to me" on the chorus. The beauty of 'Believe' is how slowly it builds up. The song doesn't explode until the 2 minute mark and by this point you're so captivated by Mumford's vocal performance layered atop the modest production that the change in pace is an exhilarating experience. I hope that the folk elements of Mumford & Sons aren't lost in the past, but for now, this is a refreshing revival of a band that continue to impress with every step they take.

5 / 5

Ariana Grande - One Last Time

Ariana Grande's sophmore album My Everything isn't packed with potential hit singles, but it does have the occasional triumph nestled amongst the mediocre. 'Problem', 'Break Free' and 'Love Me Harder' were all collaborative efforts that left you wondering if she could hack going it alone. So now, to make me eat my words, she's gone and released an amazing (completely solo) single called 'One Last Time' and I am currently trying to figure out how to eat my computer.

'One Last Time' fades into earshot with an array of echoey synths and soft beats layered beneath Ariana's impressive and emotive vocals. It's actually one of the best songs she's recorded to date, particularly because you can actually understand most of the lyrics she's singing. It's got hit written all over it and a nifty, apocalyptic, handheld music video to boot. So that's it for this album campaign. She's released her four best songs so where can she go but onwards to a completely new and better album?

4 / 5

Madonna - Living For Love

Madonna always gets a tough time on this blog. It's not because I dislike her, rather it's because I expect a lot from her. Love her or hate her, she's the most influential female pop icon the world has ever known and it likely to remain that very figure for a long time to come. Beyoncé might have stolen the limelight in recent years but as far as an innovative, boundary pushing artist goes, she can't touch Madonna. Her new album Rebel Heart has potential to outshine her last effort, MDNA which bar a few great dance tracks, failed to find its place in the greatest Madonna moments.

New single 'Living For Love' isn't an instant classic, but after a few listens its charm starts to shine through. It echoes 90s dance with heavy sonic booms and shudders and Madonna's vocal performance is confident and, at times, powerful. It's a better slice of contemporary Madonna and is certainly destined to flood the floors of gay clubs with dancing feet the world over. 

4 / 5

Florence + The Machine - What Kind Of Man

It's been over 3 years since we had a new Florence + The Machine album and really it's about time this was rectified. Thankfully it is soon to be fixed. Third studio album How Big, How Blue, How Beautiful will be out sometime in 2015 and until then we have the gorgeous lead single 'What Kind Of Man' to devour.

The song opens with a haunting (almost) spoken word verse that finds Florence's vocal layered with a demonic sounding version of herself that wouldn't sound out of place on Ceremonials. It has Florence singing about an indecisive lover, sorry, ex lover. Things amp up at 0:56 with a thumping drum beat and heavy guitar riffs and anthemic chorus. 'What Kind Of Man' is a strong lead single from the upcoming album and sets the bar high for subsequent releases. Here's a link so you can listen to it on Spotify. 

4.5 / 5

Christina Milian - Rebel

When an artist breaks away from their record label due to "creative differences" you know that is music speak for "I didn't make enough money and got fired". Christina Milian had those very "creative differences" back in 2006 following the release of her 3rd album So Amazin' (budgets were cut so they couldn't afford the "g") and since that very day she has had two single releases that didn't chart on the Hot 100 and certainly didn't make waves over here in the UK. Her new single, her first with Young Money Entertainment, is called 'Rebel' and I got quite excited when I found out it was out in the open. 

It's akin to Ciara's 'Body Party', only it's nowhere near as sultry and certainly not so amazin'. It has its own charm, a retro R&B jam but it's not the best choice for a lead single from an album 9 years in the making. The final minute is the strongest part of the song as the production strips down slightly and the vocals sound less tampered. Background sex music it is, chart topper it isn't. Where 'Body Party' was smooth, with a beautifully understated arrangement, this feels clunky and a little inauthentic. 

2.5 / 5

Rihanna - Towards The Sun

So Rihanna dropped a new song on the world wide web last week. Said musical item is titled 'Towards The Sun' and it's from the soundtrack for the new Dreamworks movie, Home. 'FourFiveSeconds' was/is a serious grower; serious in that it takes some bloody hard work to really warm to it but eventually you do, kinda. Alas, this new song is much more 'instant' and is very likely to be a chart success. It's even more instantly likeable because Kanye West's name isn't attached. It's not the best song she's recorded and it's not the worst. It sits somewhere in the middle, with a memorable chorus and thumping arrangement, but the vocals sound a little overproduced and the finale isn't the climax you'd expect from a neo-power ballad. 

3 / 5

Ellie Goulding - Love Me Like You Do

Ellie Goulding is an acquired taste, although one that millions of people across the world seem to have adapted to rather quickly. Her high pitch can, at times, be jarring and at others it can sound out of tune. Alas, for the most part the music she's released has been impressive and her unique style/sound is now very important in the pop landscape. When I heard she was going to be working on the 50 Shades of Grey soundtrack I winced, however the result is sterling.

'Love Me Like You Do' is a thumping, anthemic power ballad with an enormous chorus and a strong vocal performance from the 'Burn' chanteuse. The hook is ridiculously catching and if this song has done anything it at least lends credibility to one small part of a disastrous piece of contemporary Hollywood cinema. 

4 / 5

Jessie Ware - Champagne Kisses

Although Jessie Ware's sophomore album Tough Love wasn't quite as instantly incredible as her debut Devotion it served as a solid follow up all the same. Laced with romantic lyrics and an array of 80s inspired synth arrangements, it showed off Jessie's incredible vocal abilities and her knack for the emotive. The third single from said album is the wonderful 'Champagne Kisses', the standout track from the opus. It's like a modern day Prince cut and its chorus is explosive, gorgeous and brimming with sincerity. It's the most eccentric song Jessie's released to date and that is most definitely a good thing. The video's a bit wacky too, check it out here.

5 / 5

Rihanna feat. Kanye West and Paul McCartney - Fourfiveseconds

We've been waiting for a new Rihanna song for a very fucking long time and to be quite honest I was sick of waiting until I heard that just what I wanted had been dropped online. It wasn't exactly the sassy, beat driven joyride I was expecting. 'Fourfiveseconds' is an acoustic guitar led, midtempo jam with a pleasant melody and a convincing vocal performance from Rihanna. It peaks at the middle 8, Rihanna's voice cracking in all the right places, complemented by gorgeous gospel keys. Overall though the song fails to make an impact even after repeated plays and by the end you're left wondering if you missed the finale. Then you realise you didn't imagine the limp, lacklustre experience you just sat through. An artist like Rihanna releases songs that stamp themselves into your memory. I will be singing 'We Found Love' when I'm 65, 'Fourfiveseconds' I doubt I will remember ever happened. 

2.5 / 5

Charli XCX feat. Rita Ora - Doing It

Charli XCX had quite the 2014. She snatched her first major hit with the astoundingly catchy 'Boom Clap' (with a shockingly shit music video) and she notched up a collaborative worldwide hit with sometimes talented rapper Iggy Azalea on 'Fancy' (with an awesome music video). Thankfully, music video budgets have been bolstered for her upcoming single, the third release in the run up to her new opus Sucker, 'Doing It'. 

Rita Ora has a verse and does some singing here and there, cementing her status as an amazing collaborator and average solo songstress. 'Doing It' retains the 80s vibe of Charli's last album True Romance but it's a more poppy affair that would have slotted perfectly into the late 90s pop boom. This is a frivolous, infectious romp and the laws nature stipulate that you enjoy it.

4 / 5