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We've Eloped...

Hand in hand with some new blog topics, a new look and more sass than ever before.

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James Bay - Best Fake Smile

One of Britain's 2015/16 success stories, James Bay's done alright for himself. A number one album here and hitting number 15 in the US with The Chaos & The Calm and his mammoth hit 'Hold Back the River' have established him as one of the county's indie-pop front runners. Now with a Brit award under his belt he's released new single 'Best Fake Smile', one of the album's stronger cuts. It's more of the same though, paint by numbers uptempo guitar strumming backed by a toe-tapping drum beat and the often monotone rasp of Bay's voice. He's got talent, he's got an appealing voice, but if you're not an indie-pop zealot you might find this a little too repetitive.

3 / 5

Miguel - Wildheart (Take two)

This was, probably, my favourite album of 2015. It should be yours too. Here's why and here's more why:

Rihanna - Love On the Brain

Rihanna - Anti

Where Beyoncé was the supposed exposé of Beyoncé as a true artist, Anti is Rihanna's attempt at the same thing. The main difference is it's not as filth filled as the Queen's, instead it's a dancehall, pop/r&b infusion with some of Rihanna's most impressive vocals to date. We've been waiting for years for this album and I won't sugar coat it, a lot of fans will be distraught at the departure from her previous chart friendly sound. It's an album without a dance floor smash, an album with a dark and brooding backdrop, an album that at times feels dispassionate when it should be overflowing with emotion.

Opener 'Consideration' deals with Rihanna's rejection of her record label's desires, her bajan accent snapping "I got to do things my own way darling" and "Let me cover your shit in glitter / I can make it gold". It's a solid start to Anti, reminiscent of old skool Fugee beats and featuring a pleasant turn from SZA. It's followed up by the 1:12 filler 'James Joint' where Ri sings about wanting to be smoking weed whenever she breathes and it's moments like this where she loses the plot and you feel a little embarrassed by this try hard attitude. It's not the only awkward track on Anti. Lead single 'Work' (feat Drake) is ridiculous, annoying, uninspired drivel and could easily win the crown for the worst track of Rihanna's career. Preceded in the charts by the amazing 'Fourfiveseconds', 'Bitch Better Have My Money' and 'American Oxygen' (none of which made it onto the album), this move makes you wonder if Rihanna is really ready to make her own marketing decisions. Then there's 'Woo', a melody-less, inaudible piece of nonsense and even now I'm not sure what it's about. 

Sia - This Is Acting

You'd be forgiven for feeling that Sia's faceless campaign for her last behemoth album (first major commercial abum) 1000 Forms of Fear was a little bratty. Facing away from the crowd as your perform didn't seem like the best way to win new followers, however, somehow she nailed it. With incredible songs like 'Chandelier' and 'Elastic Heart' it would be impossible not to fall in love with the new, pop heavy version of the once odd ball, indy-pop artist. 

A leap has been made for new album 'This Is Acting', Sia now faces the crowd and reveals her mouth but covers the upper half of her face with a black and white wig. She's also flaunting some incredible pins but that's neither here nor there (they're really good legs!). I digress. This new album is even more commercial than its predecessor, but for good reason. The clue is in the title; this is Sia as 'Sia the Popstar'. This is Sia singing a collection of songs she'd never normally sing herself, ones she wrote for other major artists that either rejected them or in some cases she actually asked for the song back. This is the reverse of conventional musical experimentalism, where the likes of Beyoncé dabble in new noir sounds, Sia is striding on into the pop spectrum to fill her place.

Poppilgrim's Top 10 songs of 2015

I've been extremely tardy when it comes to blogging over the past 12 months. A lack of inspiration, too much other 'life' stuff going on and a good ol' dose of 'cba' really lowered my pop music blogging productivity. I've had a rest and now it's back to b'ness.

This is overdue, but here's the top 10 from what I had planned to be a top 40. That top 40 is redundant now and also too time consuming. So in my baby steps stage here you have it, my top 10 from 2015 and note it's in reverse order so the best is saved for last:

Zayn Malik - Pillowtalk

Almost one year on since he abandoned his One Direction bandmates (or enemies if you believe the tabloids), Zayn Malik's dropped his debut solo effort, 'Pillow Talk'. I can't imagine any of the other band members having the same solo appeal, perhaps because Zayn's voice has always been (perhaps with the exception of Harry Styles) the outfit. Appeal aside, no one expected his first outing after his musical divorce to be so bloody good. It's anthemic to say the least, meeting at the intersection of RnB and pop perfectly. Singing about pissing off his neighbours having what I can only imagine is very loud and obnoxious sex, the thick beat is soaked in x-rated imagery and the production is far more grown up than you might expect. If he keeps this up he'll have so many hits under his belt he won't ever need to regret his decision to chuck all that future 1D cash away.

5/5

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.