Sia - Chandelier

Sia Furler is my favourite singer, songwriter, pure musical marvel. I can't deny my unlimited adoration for the work she does but as always I try to remain as unbiased in my posts as I can muster. Her new song Chandelier premiered at 4am UK time. I listened to it at 9.05am UK time. It's now 11.30pm and I'm on play number... something. 

This is a special song and it's certainly a special moment in Sia's career. She has always made it clear that she doesn't want to be in the 'spotlight'. Some say her songwriting and vocal credits on mammoth hits Titanium and Wild Ones, as well as working with the likes of Christina Aguilera, Rihanna and Beyoncé, contradict this. You can write and produce magical music without craving fame.

Chandelier is an r&b tinged outing, with a ridiculous chorus and by "ridiculous" I mean incredible. Her vocals soar up there, right bloody up there and what you initially interpret as a song about getting smashed and literally swinging from a chandelier turns into a song about taking chances and being shit scared about the whole thing, “I’m holding on for dear life, won’t look down won’t open my eyes”. This new song is an indicator of one hell of a pop album coming our way, I can feel it.

5/5

Kylie Minogue - Kiss Me Once

It's two years since we heard a peep out of miniature pop starlet Kylie Minogue. 2012 saw the release of The Abbey Road Sessions, an album of live, reworked moments from Kylie's back catalogue; it was a success. Now with a conveniently timed stint on The Voice UK as a mentor/judge/killer of dreams, she's released her 12th studio album, 26 years since she released her debut Kylie in 1988. This one is called Kiss Me Once and the question on your lips before you pucker up should be "is it any good?"

Lead single Into The Blue also serves as the album opener. It's a summery pop track with an exhilarating chorus and strong pre chorus build up. You can tell as soon as it begins you're in for a treat and it's certainly one of the album's strongest tracks. The pop sound is continued with Million Miles and I Was Gonna Cancel. The former is a typical Kylie dance pop track with a throbbing synth arrangement and predictable but enjoyable chorus. It's another strong track, but doesn't have the depth of the album's lead single. The latter is an ode to her 80s days, I Should Be So Lucky feels a lot closer in time when the Pharrell Williams production kicks in. It's the kind of song you want to dislike but is destined to become a fan favourite for its quirkiness. Again, it's as shallow as an empty paddling pool but it's ridiculously catchy and after repeated plays an album highlight.

It wouldn't be a Kylie album without some sex thrown in for good measure. Disco flavoured Sexy Love is infectious and likeable where electronic r&b sore thumb Sexcersize struggles to avoid the skip button. The Sia Furler penned track would be a perfect fit on Kylie's X album; here it just feels out of place. Being as obvious as she can about having some sex on the album she closes off the "sex" tracks with Les Sex, a twinkly electro dance track with elements of euro rave. "Take two of these and meet me in the shadows" she sings to her lover, comparing sex to a drug. Either that or she's actually giving him two viagra? It's a fun track but again, completely void of any emotional power and screams "filler!"

Kylie Minogue - Into The Blue

It's been a while since Kylie Minogue's last epic single, All The Lovers. There have been others since but none of them made waves. Thankfully, the first single from her upcoming album Kiss Me Once is a veritable tsunami of a pop record, oozing charm and dripping melody like ice cream on a 30 degree summer day. It's a perfect jam to take you through the turn of the seasons and although it's hardly the most innovative move Minogue has ever made, it's proof that when she does pure pop she does it with heart.

4.5/5

Julio Bashmore (Ft Jessie Ware) - Peppermint Review

Julio Bashmore enlists the aid of UK vocal marvel Jessie Ware on new house track Peppermint. It's the second outing between the two, the last being 2013's stunning Imagine It Was Us which fused disco and house sounds. This new single doesn't have quite the same impact on first listen but definitely grows on you. It's an ode to classic house and Ware's vocals are, as always, lovely.

3/5

Shakira - Empire Review

That song she did with Rihanna, can't remember its name, was pretty shit. Let's all just stand up and admit it, it was not the single we expected or hoped for from two of the world's most lucrative pop stars. It certainly grows on you, but so do warts. Thankfully it had a steamy video with lots of ass gyrating and lower back arching and even a little lesbian erotica. 

So when Empire was announced I really wanted to hate it, with every ounce of my being. Well fuck me; it's actually quite good. Not far off Bond theme territory, this is an epic power anthem with hints of Alanis Morissette & Coldplay. It's not the song of 2014, even though the finale is pretty incredible, but it is one of the most distinct songs we've heard from Shakira in a long time and it serves as a great way to forget its star power driven predecessor piece of pish.

3.5/5

Katy B - Little Red Review

Wonder if she got hold of that Valium?

Katy B's debut album On a Mission was Mercury nominated, reached #2 on the UK album charts, and was bloody brilliant. Layers of dubstep, dance, funky soul and electronic synths merged with her emotive, smooth vocals to create an album with gorgeous flow and immense quality. It's been 3 years since she launched herself onto the commercial music scene and now she's back with sophomore album Little Red. 

This moment in an artist's career is often cited as the 'difficult' second album. 'Second album syndrome' has poisoned the endeavors of so many in the past, but thankfully in Katy B's case she's managed to retain immunity. Little Red is packed with joyous moments of dance production perfection, along with the dub step elements that made her debut so successful. 

Lead single 5AM is one of the year's slickest, most exciting dance tunes, with an exhilarating chorus, gorgeous production from On a Mission's producer Geeneus and stunning vocals. In a musical battlefield where artists are sharpening and reloading their dance song armory, trying to maintain their foothold in the charts and keep their bank balances topped up, Little Red is a veritable rocket launcher and Katy is wiping out her competition. Opening track Next Thing and cuts I Like You, Emotions & Aaliyah (feat Jessie Ware) are all heady dance floor fillers. Jessie Ware collaboration Aaliyah is a wonderful foray into easy-going, hip-swaying dance music brimming with sumptuous vocals from both B & Ware, layered over syncopated synths; a song where both ladies plead with Aaliyah not to try and take their men. Emotions reaches its crescendo in its final moments, going from mid tempo pleasantry to exhilarating dance number. It's not all 'newish' territory though, Little Red doesn't shy from the sound of On a Mission. All My Lovin' is bursting with thick beats, dub step electro quivers and echoes.

Balladry isn't something expected from an artist like Katy B, but on Little Red she's certainly surprised everyone with Crying For No Reason. It's a gorgeous vocal led number with a minimalist synth and key arrangement that ups tempo after the first chorus. The hooks continue with Still, another down tempo love song showcasing how affecting her voice actually is.

Overall Little Red is a fantastic second album. If it's not quite 'your thing' it could prove difficult to get into on first listen but give it a second go and you'll change your mind. With songs like CFNR, 5AM & Aaliyah there's no denying the immense quality available here. It's a step forward from her dub step beginnings and yes it's more commercially friendly, but it has to be respected that she hasn't let go of her On a Mission days quite yet. It's all about awesome dance production, great song writing and lovely vocals here.

4.5/5

Two reasons that 'Can't Remember To Forget You' song isn't a total disaster...

1. Shakira looks like this...

2. Rihanna does this...

It's not the expected mammoth hit people anticipated and the chorus sure is bloody irritating, but after about 20 plays it gets stuck in your head. Not as much as the sexy as hell video though... Dey woke up like dis!

Song - 2/5

Video - 4/5 

Beyoncé - XO

There's nothing more I can say about this song. It's just, perfect.

Beyoncé album review.

Pitbull featuring Ke$ha - Timber

There's no shortage of cheap n' nasty dance music in the charts at the moment, mainly given to us by Avicii with Wake Me Up and Hey Brother. You can always depend on Cuban lothario wannabe Pitbull to up the stakes though and he's done just that with new single Timber. Originally intended to feature Rihanna, it transpired that she was too busy recording her duet with Shakira, so we're told. I'm guessing she thought this, "A song called Timber with Pitbull? I'd rather shit in my cereal thanks". Words to that effect. So he snared a rebound to team up with, Ke$ha. 

Anyhow, it's here and it's now number 1 on the UK singles chart because let's face it, this country loves a cheap song. As shitty and ultimately awful as it is, it's really fucking catchy and I keep catching myself singing the "woooah oooohh ooohhh" bit. Ke$ha makes the song enjoyable, but you're always aware that it is terrible, empty dance music. It's certainly no International Love that's for sure.

2.5/5

Lea Michele - Cannonball

I'm not a Glee fan. I wasn't a Lea Michele fan, in fact I'd say I disliked her simply for playing such an annoying TV character. Then I heard Cannonball, her debut single and lead from her upcoming debut album Louder. I thought "oh here we fucking go", then I heard it and thought "shit, this is actually so catchy I might actually fall in love with it". It's not the crap stick you'd expect, trust me. Lea sings beautifully throughout, with some insanely high, flawless notes. Her voice, the thumping poppy production courtesy of Stargate (Only Girl In the World) and lyrics co-penned by musical empress Sia, come together and make a really, very good pop song. It's quite 'broadway', but that's to be expected and can't take away from the fact that this is a really blood uplifting midtempo ballad.

4/5

Little Mix - Little Me

Nobody expected Little Mix's sophomore album to be as incredibly entertaining as it was/is. It sounds like a young, current, new-age Destiny's Child with 4 very talented singers instead of 2. Lead single Move didn't grab people instantly, but once you got a grasp of its unconventional pop structure it became impossible not to love it. Second cut Little Me is a stunning ballad, their most accomplished to date and one of their most beautifully sung songs. It's exhilarating balladry and the most mature the girls have ever sounded, their powerful vocal harmonies soaring above the booming TMS production. A bloody good move for the 2nd single.

4/5

Lady Gaga - Do What U Want featuring Christina Aguilera

Lady Gaga's ARTPOP is certainly a slow burner in terms of likeability. It's taken me over a month to appreciate some of its quirkier charms, but it's still no masterpiece and it's still more than half shit. However, Lady Gaga is herself a likeable entity and a damn good popstar. Do What U Want was released late last year with R. Kelly laying down some smooth vocals, making the song one of the best of 2013 as well as one of the best Gaga songs of all time. A couple of months move by and she's gone and re-released the song but this time she's roped in supposed one time "copycat" Bionic star Christina Aguilera for an exciting rendition. The lyrics in the second verse are different and of course Christina belts out some raspy high notes, but honestly the whole song loses some of its sass & sexiness without R. Kelly and Gaga's chemistry. It's still very enjoyable though, particularly the "what you want Lady Gaga" bit.

Watch the live performance of the song here.

3.8/5

Britney Spears: Piece of Me "live" in Las Vegas

Britney Spears used to sing live, sometimes. She gargled her way through an excruciating live rendition of her hit 'Everytime' on her Onyx Hotel Tour, something I witnessed before my very eyes and ears. At least she could be patted on the back for effort, perhaps even ballsiness for even attempting such a bold move when her singing voice isn't particularly...strong. So when it was announced she was going to take up residency in Las Vegas across the latter stage of 2013 and throughout 2014, I couldn't be blamed for presuming it would be a mime fest. 

Her team tried to quash this idea that resonated in global pop consciousness with statements along the lines of 'she's ready to sing' and 'her voice is better than ever' (words to that effect). So, a flash of doubt darted across my mind and I thought "OK, maybe she will do her job and actually sing live. Maybe she will stop being lazy or at least hold her hands up and admit that she's a shit singer'. I was wrong to doubt myself, oh fucking wrong I was! I owe myself a big fat apology. 

There she goes again, with the fucking arms!

Her residency kicked off on Boxing Day 2013. Predictably, the set is quite great. It's brimming with life, movement and flashing lights, glitz and glamour. It's all very exciting, expensive and well put together. Just for the record, I wasn't there, but I have seen enough YouTube evidence and photographic evidence to back myself up. The epic club worthy synths of Work Bitch kick in and the show begins. The dancers work very hard throughout, cutting fine shapes, defying gravity and synchronising perfectly. Who is this blonde who has seemingly intruded on what is a fun dance show with an entertaining backing track? Oh wait, (lol) it's Britney Spears! In fairness, her energy is on point for the first 30 seconds of the performance and then, typically for this performer in this era of her career, her energy drops and the lazy arm focused dance moves commence. Her legs work out of time with the dancers and it's so obviously a lip sync session it's laughable (at least record a live backing track darling). 

 

From what I can gather, this is a trend throughout. She cracks out 4 of her most immense tracks, Baby One More Time/Oops! I Did It Again, Stronger and Crazy. This is the Britney people want to see and by 'people' I mean me. Again, another obviously lip synced segue commences with a medley of her two most well known hits. Gone are the dance routines of yesteryear and in are the arm movements, being carried by dancers and getting entangled in red cloth a la Rachel Stevens Sweet Dreams (My LA Ex). It's so lack lustre that if you put the track on in an old people's care home you'd get more energy out of it. The dancers again, work very hard and without their efforts this show would be a laughing stock. Thankfully, for Britney at least, the surrounding spectacle distracts everyone from her obvious attitude of 'I'm rich and bored and I really don't want to perform anymore'. There isn't even a hand-heart-pump dance move shoved in for nostalgia's sake on Oops. There are performances of non-singles from her brilliant Blackout album, but these could have been replaced with other hits like Overprotected and instead of the song equivalent of the turd Lucky, she could have shoved in Born To Make You Happy or at least a superior track from one of her later albums. 

 

She closes off the show with pop rave tune Til' The World Ends. It's a superb club song marred by a lifeless attempt at interacting with her dancers and a piss poor attempt at pretending to have fun. Yes, hands are in again, as are fist pumps and lots of jumping on the spot. Really, for an act who pretty much redefined pop music of the late 90s (that's questionable in itself - I think we have Max Martin to thank for that) and early 00s with songs and videos like Slave 4 U and Toxic, this is a really deflating Vegas residency which had it been done years ago could actually have been pretty incredible.

Rated i's Top 25 Songs of 2013

                    

http://open.spotify.com/user/primitive_/playlist/7JR93Xu9k1Ofy6YecbwL18

It's almost the end of another bloody year which means a new year is upon us and it will be filled with new, hopefully amazing music. It would be silly to go into 2014 without looking back at the best pop moments from the past 12 months. 2013 saw the release of a new Lady Gaga album, ARTPOP, which wasn't very good but created a lot of excitement all the same. We also got a new Katy Perry album in the shape of Prism and it wasn't perfect, but it was nice to have her back. There has been great new music from UK babe Katy B, proving that sticking to what you're good at can be a good thing. JT also rose from the pop ashes with a hugely successful album and equally as popular singles. Leona Lewis even out right some wrongs with a superb Christmas album! It's almost too much to take in!

The year didn't just have plenty for 'pop' fans, there have also been plenty of brilliant, slightly more 'alternative' tracks/albums. VV Brown made a comeback with the surprisingly incredible Samson & Delilah. Kanye West kept rap fans happy with his new album Yeezus which contains elements of punk-rap and newcomers HAIM proved that playing your own instruments and writing your own 
alt-pop songs is still cool and can produce amazing results.

The big news though, you know what's coming, was the surprise release of Beyoncé's 5th studio album Beyoncé. It turned out to be a surprise in more ways than one and is her best album to date (fact). If it had come out a few weeks earlier I would have included a couple of the songs on here because they really are that good, but it wouldn't be fair so late in the year and so close to the publishing of this post. So, Beyoncé, release some amazing cuts next year and you will surely find yourself on this list.

Kick back and have a read through my top 25 singles from 2013. There may be some surprises in there, there may not. We know MKS are going to fare well don't we? Here we go:

                   

TWENTYFIVE. Heart Attack - Demi Lovato    

A far cry from the antics of Miley, Demi Lovato maintained pure pop in 2013 and gained herself some new fans in the process. Brilliant track Heart Attack hooked thousands when it came out earlier this year, with its heaving pop production and catchy lyrics. It was just what the charts needed, frivolous pop fun from a well respected vocalist.

TWENTYFOUR. You (Ha ha ha) - Charli XCX         

She's not very well known at all bar a credit on Icona Pop's mammoth hit I love It. She does have an album of her own though and it's quite good. You is one of the quirkiest tracks from the album, sampling Gold Panda's eastern sitar arrangement to add a bit more flavour to her electronic synth stylings. This is begging for a club spin.

TWENTYTHREE. Can't Hold Us - Macklemore ft Ryan Lewis 

His second single from The Heist, this is a Brazilian flavoured, dance floor filling extravaganza that is literally impossible to resist. It's not as tongue in cheek as Thrift Shop but what it lacks in humour it makes up for with sheer ass shaking genius.            

TWENTYTWO. Thunder - Jessie J

Jessie J came back in 2013 with her second album Alive, releasing new hit singles Wild and It's My Party. She decided for a third single though that she'd prove her new album isn't all about being famous and being amazing. Thunder is a thumping pop anthem with some of the best vocals of her career on the best song of her career so far (bar Domino).               

TWENTYONE. The Apple - VV Brown 

This is one of those songs that will struggle because the artist it's attached to has a minimal public profile. It's the most commercial cut from her new concept album Samson & Delilah but retains enough 'alternative' flavour to keep the snobs happy. With its heaving beats and synths, along with an opera inspired vocal, this won't grab everyone at first but give it a chance and you'll find yourself very surprised.

TWENTY. I Love It - Icona Pop       

A kinda surprise number 1 in the UK, I love It put this dj duo on the pop map. It opens with a standout ignition riff that repeats throughout the song and bursts into a roaring, chanting chorus about throwing someone's "shit down the stairs". Now that is stuff, not actual shit... I think? It's doubtful they could ever match the success of this single. It could be a trip to the one hit wonder hall of fame for these ladies.

NINETEEN. Black Skinhead - Kanye West

It's the only time you'll get some solid punk-rap in 2013. It opens sounding a bit like a Marylin Manson track before erupting into an aggressive race rap. I love it and I am not a Kanye West fan. He might be a dick but the guy sure does know his way around a recording studio. Now, to erase Bound 2 from my mind.

EIGHTEEN. Hold On, We're Going Home - Drake       

Drake could have struggled to match the awesomeness of Take Care but thankfully he didn't. This is an incredible R&B dance track and it's actually quite beautiful to behold. Drake shows off his actual singing/not rapping talent and his voice sounds pretty nice. This song shows exactly why people like Rihanna and Beyoncé want him on their albums. 

SEVENTEEN. 5am - Katy B     

5am is the second cut from her new album Little Red. It reinforces the promise made by the lead single What Love Is Made of, with gorgeous dance production and wonderful vocal control throughout. It's another should have been top ten song, but we can at least rest assured that Katy is still writing brilliant music. Just wait till you hit the chorus, wow.

SIXTEEN. Blurred Lines - Robin Thicke ft. Pharrell  
Controversy aside, Blurred Lines is a damn well constructed song with a disco-R&B sound. It won't inspire any positive response from feminists, but it's so catchy I defy even the haters of the track's controversial lyricism not to sing along. It's the biggest selling song of the year, so it must be pleasing someone. "Everybody get up!"

Beyoncé - Beyoncé (Album Review)

Beyoncé is the most captivating popstar around. She's one of few contemporary popstars who have managed to command the respect of music snobs, mainly due to her wildly entertaining Glastonbury set and ridiculously well produced tours; oh and of course the hit songs she's released over the years. She's maintained an element of mystique, keeping her private life under wraps and even when we are given a glimpse, it's just 'enough'. She's the ultimate musical persona of our generation and as her surprise fifth studio album Beyoncé illustrates, she isn't about to drop her crown any time soon. Beyoncé could very well be the album of 2013, no small feat considering it dropped 3 weeks before year end. It's the most experimental endeavour this artist has ever taken. It's packed with some truly beautiful electro-R&B tracks, dark piano balladry and even a naughty disco number.

As a result of this change in direction I'm sure she'll lose a few die hard booty shaking fans who were eager for another Run The World (Girls). As good as that song was after some time to grow, it wasn't anything we hadn't heard from Beyoncé before. There are only three songs on Beyoncé that remotely sound like a classic 'Beyoncé' moment. There are plenty of flirtatious lyrics and chat about her "phatty" (arse to you and me), only this time round these moments sound more authentic, honest and erotic. This is Beyoncé at her most sexy, most convincing and also at her most vocally impressive.

Britney Spears - Perfume music video

The video for Britney Spears' new single Perfume, penned by Sia (genius behind Titanium and Diamonds) popped out of the pop womb for the first time at the start of the week. It's a less silly song than Work Bitch, but it's quite nice to hear her sing something that actually has some sort of meaning behind it. Let's face it, Britney is no vocalist and this song shows just how limited her range is. It's a decent midtempo ballad and is one of the better songs from her disappointing album Britney Jean, but it's certainly not that memorable.

3/5

Lana Del Rey's new album...

Is going to be called Ultraviolence. This could get too exciting. It's been such a long time since Born To Die was thrust into our lives and what a solid, wonderful thrust it was. Going by the demos that have been circulating her sophomore album is going to be one hell of a ride. Let's hope the below song Hollywood is one of the featured tracks & that the album is more Born To Die and less Paradise:

 

 

Rated: Leona Lewis - Christmas, With Love

Leona Lewis kind of bombed a bit with her last album Glassheart. It wasn't that anyone wished her any level of failure (I don't think?), it was more that the music just wasn't what we expect from the singer who blew us off our feet with the likes of Bleeding Love and Run. That's not to say there weren't amazing songs on that album (Unlove Me & Trouble). It's never too late to make amends and that's just what she's doing with her newest album Christmas, With Love. 

Preceded by single One More Sleep, the album opens in true festive fashion with typical Christmas jingles and a Motown arrangement pulled together by Kylie & One Direction producer Biffco. It's a song the Supremes would have been proud to call their own and almost hits the bar set by Mariah Carey's All I Want For Christmas Is You. This is what the world has been hungering after for years, a new & good Xmas pop song in the same stylings as the classic behemoth festive hit. The album contains a total of three original songs, Leona credited in the 'writers' section. Your Hallelujah is a down tempo, piano lead number, opened with some understated vocals from Leona. The third is Mr Right, similar to the lead single in pace but even more incredible in quality. This is certainly an album highlight. 

Then we have the classic Christmas cover versions. Winter Wonderland is predictably great, begging to be blasted on a snowy drive home and Silent Night is a semi acapella beauty with flawless vocals. It's staple Christmas tracks I Wish It Could Be Christmas Everyday & Christmas (Baby Please Come Home) that really shine through. Not only does this album show Leona's ability to carry a pop classic, it also proves her to be one of the most incredible vocal talents around. Ave Maria is perhaps one of the most beautiful performances you'll hear during December. Leona is unrecognisable as she sings the Schubert masterpiece like an adept classical singer. 

The beauty of Christmas, With Love is that it remains loyal to the iconic originals. It doesn't fiddle with song structures, nor does it do anything over the top. It's pure, shameless Christmas joy presented in 10 tracks by one of the world's strongest vocal performers. If this is an apology album from Leona, promising she's going to get back on the right road with her future 5th album then we are going to hear something very special indeed. This could be the best Christmas album since Mariah Carey's Merry Christmas.

5/5

Rated: Britney Spears - Britney Jean

Britney Spears is one of the greatest pop stars of all time, there's no denying that. Her influence, even if she was controlled and directed by record company execs, on late 90s and early 2000s pop is unquestionable. She's released iconic songs like 'Baby One More Time', 'Oops! I Did It Again', 'Slave 4 U' & 'Toxic', and she's sold over 100 million albums in 15 years. So when she comes back with new material all pop fans sit in perspiring anticipation for another "epic" moment from the once princess of pop. 

New album Britney Jean has been promoted, although minimally, as her most personal record to date. A concept record about the loneliness of the pop industry, apparently. She's roped in some of the biggest producers in the world too, like Madonna's pal William Orbit, 'Million Voices' anthem maker Otto Knows, Diplo and of course her new bff Will.i.am. 

The album is largely a dance album. Lead single Work Bitch, produced by Otto and Will.i.am is a club ready anthem with euphoric electronic dance production and ridiculous lyricism. Britney whips out her 'best' English accent, something I'm beginning to think Will.i.am is responsible for and demands you call her 'the bubbler' because she'll make you 'bubble up'. It's one of the stupidest songs of 2013 and of her career (bar 'Lucky') but it's so infectious and so likeable it's infuriating. The silliness continues with uber robotic It Should Be Easy, featuring Will.i.am. The overuse of vocoder distracts from what could actually have been a solid dance track - thankfully the vocal-less dance segments are enjoyable. The dance productions continue with Body Ache, a less silly song than Work Bitch but with a less enjoyable dance segue. We do get a little blast of what Britney calls Hip Hop, but we'll call it Brit Hop, with Tik Tik Boom featuring T.I. It suffers from over production on the vocal front, but the beats on the chorus are brilliant.

Orbit production Alien is the most blatant attempt at exploring the concept of a lonely pop life. It's actually quite a strong song after repeated listens, with some lovely Orbit trademark sounds. The problem is it could have just been pushed that little bit further. Whether this failure to quite hit the 'perfect' mark is down to Britney's inability to be charismatic or Orbit's production eludes me. Still this is one of the album's best tracks. Til It's Gone similarly looks at being alone, however on a more personal than professional level. It's an album highlight, with less intrusive vocal manipulation and some trademark Britney croaks surrounded by brilliant dance synths. 

Buzz song Passenger is another enjoyable moment on Britney Jean, but it is in dire need of a 15 second cut from the vocal empty intro. It's a mid-tempo love song with a pretty strong hook and pleasant poppy production from Diplo. I did expect something far more intense from a producer of his calibre though... Following on from this is the absolutely awful duet with her little sister Jamie Lynn Chillin' With You, who is actually a better singer than her mega star sibling but has about as much charisma as door knob. Couple that with shit on a stick production and you have the turd of Britney Jean.

A Britney Spears album is not complete without a down tempo track, or two. The Britney Spears ballad can never really be a proper ballad due to, err, vocal limitations. Britney Jean has a couple of these 'ballads' in the form of Perfume & Don't Cry. The latter is mediocre, with yet more overuse of vocoder marring any credibility the song could have had. Sia penned Perfume is a lot stronger, with little to no vocal manipulations or silly effects. It's a strong enough track, with a catchy chorus but it's not one of Sia's best works.

When Britney Spears released Blackout she paved the way for electronic pop to rise up and take over the charts. Unfortunately, Britney Jean isn't going to be setting any trends, nor is it going to have a number 1 single (I doubt). There isn't one 5 star track here, but there are a few that with a bit more attention and perhaps some fresh producers could have been very strong. As has become the trend in Britney Spears' work, this album is overflowing with dance floor beats and over production. There are some songs that are so vocally manipulated they may as well have built a robot and stuck it in the studio. The notion that this is a concept album is completely absurd; a concept album has a recurring theme/message, this does not. If you want a concept album listen to VV Brown's Samson & Delilah. Britney Jean is an album that hinders its own success with production greed, Britney's complete lack of charisma & personality, and far too much Will.i.am. 

Download: Alien / Perfume / Work Bitch / Til It's Gone

2/5

Rated: Natalia Kills - Trouble

Quite often there are good pop stars, who aren't really pop stars in the full sense of the words. They write, produce and perform some very good pop songs, but too few people raise their heads to pay attention and it all fades away into the iTunes search ether. This can be said of the, at times, very good Natalia Kills. Her first proper studio album Perfectionist sold a moderate volume, but 129 in the UK charts isn't going to get you the recognition that's afforded to your peers Rihanna and Rita Ora. Alas, at least you have a major role to play in the completion of your work; just sayin'. 

At 27, Natalia Kills does deserve some recognition, even if it is just for effort. Her new album Trouble is much darker than Perfectionist and feels less contrived. Gone are the pleasant yet common sounding tracks like 'Free' and in are dirty electronic beats and rock riffs. Trouble is a mashup of electronic and rock influences, with 27 years of pain and traumatic domestic experiences thrown into the mix. 

Problem and Boy's Don't Cry show off the sassy side of Natalia Kills; in a nutshell they're songs about fucking without feelings. The former is an album standout, with a killer hook and club ready rough rock-hop synths. The latter opens with an electric guitar riff, before popping into a playground chant about getting nailed and leaving a guy to deal with his emotional attachment. "I'll be yours tonight but don't hold me too tight/ When we say goodbye remember boys don't cry" she sings on a fun turn on gender stereotypes, putting the guy in a role that's typically stamped on females. This 'fucking' theme continues on Gwen Stefani inspired Rabbit Hole, which sounds like a 'Hollaback Girl' clone. It's not an instant like, but after 3 or 4 plays you'll find yourself getting quite addicted to self assurance Natalia Kills pours into her semi rap verses. The decadent album content flounders on Controversy though. Although it has some of the most fun production on the album, the point of the song never really shows itself and the whole affair seems needless. 

There are a few ballads on Trouble and they serve as a break from the roaring electronics, but they're the weakest moments on the album. Watching You is hard to get into and seems a bit washed out and the feeling extends to Devils Don't Fly, but thankfully the piano lead Marlboro Lights is a surprise album favourite, with a confident and authentic vocal performance and some lovely lyrics to boot. The lesson is that Natalia Kills is certainly not a ballad artist.

Things get incredibly good with Saturday Night, by far the album's strongest track and one of my top 25 tracks of 2013 (teaser). It's an anthemic track, with a wavering 80s synth and pounding beats layered amidst the revealing lyrics about her father's alcoholism and domestic abuse of her mother: "Momma you're beautiful tonight/ Movie star hair and that black eye/ You can't even notice it when you smile so hard through a heart felt lie..." The quality continues with Outta Time & Daddy's Girl. The latter another standout track with some brilliant lyrical structures and a more poppy production than the rest of the album.

Trouble probably won't hit the top 10, not that it doesn't deserve to, it is certainly good enough. The problem for Natalia Kills is that although her songs are, at times, brilliant the majority of them are not loveable on first listen. This could be down to the fact that the lyrics are a bit too intricate/clever, making it hard to pick up on first play. Once you do though, once you get that hook you really do discover something/someone quite special. I advise anyone who hasn't explored this artist before to give her a chance because her honesty & delivery warrant attention.

Download: Saturday Night / Daddy's Girl / Problem / Boys Don't Cry

3.5/5