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:

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?

Jessie Ware - Tough Love (Album Review)

Still waiting on that ASDA delivery.

The soft flutters and twinkling synths of Devotion, the title track from Jessie Ware's debut album were the perfect introduction to an album that was one of 2012’s finest collections, an album packed with charm, passion and Ware’s soulful, classy tones. Her sophomore album Tough Love opens in a similar fashion with the haunting arrangement of its own title track. The question is, has she managed to match or exceed the expectations of her fans? Does Tough Love continue perfection? In a commercial landscape littered with so much crap, Jessie Ware is a Goddess, perhaps even a saviour of contemporary pop music. Her debut album came along at a time when pop music had become more predictable than ever and the charts had become less about quality and more about brands churning out continuous money making singles with lazy lyrics and overused producers. 

She may not be a producer herself but her ear for a melody and a heady synth arrangement is mesmerising. Tough Love has made clear sonic and vocal progress from her days on Devotion. Ware stated in an interview that she tried different ‘things’ with her voice on this album and it’s apparent from the incredible title track and its unexpected falsetto and the likes of Say You Love Me; Co-written by Ed Sheeran, this is Ware at her most exposed, most emotive and there are moments where her voice is startling. Then you have the echoing riff of Miguel collaboration You & I (Forever); its simple chorus is complemented by understated vocal delivery and gorgeous background harmonies and listen out for the sumptuous vocal riffs in the middle eight which are my album highlight. Then there's the awesome Cruel, an Okumu (co-writer of Devotion) and Ford (Arctic Monkeys, Little Boots, Haim) production with a killer chorus, synth beats and string arrangement.

George Ezra - Wanted On Voyage (Album Review)

When relatively unknown English singer George Ezra released his second single, Budapest, no one expected it to reach number three on the official chart, nor did anyone see it selling millions across the world. It’s not undeserved. The song is a wonderful, proper, introduction to the bluesy tones of Ezra and his apparent gift for songwriting. It’s gorgeous from start to finish, from the opening folksy riffs to the heartwarming climax, it wouldn’t go amiss on a Hipster Indie movie soundtrack. Budapest is just one beautiful song from Ezra’s 12 track debut album, Wanted On Voyage.

What’s clear on this album is that Ezra has a distinct, at times incredible, voice. It’s folksy yet bluesy, soulful yet rocky, strong, assertive and often vulnerable. His latest single and album opener Blame It On Me is just as wonderful as his biggest hit and has one of the most memorable hooks in recent memory as he pleads repeatedly “What you waiting for?”. Ezra cites the likes of Bob Dylan as an influence and that influence is obvious on Cassy O’, an uptempo folk track with a superb chorus and an arrangement begging for a live setting. 

Sia - 1000 Forms of Fear Review

There are few songwriters as in vogue as Sia Furler. She began her solo career 14 years ago and achieved moderate success with her first five studio albums. Then with the sneaky shenanigans of one David Guetta her voice was flung into the spotlight on mammoth dance hit Titanium and then again with Flo Rida on Wild Ones. With the pressures of fame her personal battle with alcohol, drugs, depression and her unfortunate diagnosis of Graves disease she now wants to remain out of the spotlight, at least as a person. Her music however, could thwart this as she releases sixth studio album, 1000 Forms Of Fear, an album that is set to be her biggest seller so far and increase the attention bestowed on her. 

The album opens with behemoth track Chandelier which serves as the album's lead single and it's more immense, euphoric and heady than any of her past releases. Dealing with the 'party girl' approach to alcoholism ("Party girls don't get hurt/ can't feel anything/ when will I learn/ I push it down I push it down..."), a reflection of Sia's own battle with the addiction, the song is a thumping, whirlwind power ballad with elements of eletronica and hip hop layered under a soaring vocal that cracks at all the right moments. It's a contender for song of the year and as it stands it's way out in the lead. The grandeur doesn't stop there. Big Girls Cry is another album highlight/massive ballad with a brilliant chorus and Eye Of The Needle is wrought with emotion. The vocal breaks give her emotion authenticity and it's her pathos coated vocals that send the likes of Fire Meet Gasoline into the stratosphere, a song with a killer melody and an epic chorus that only she could hold the reigns to.

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

Rated: Jessie J - Thunder

It's impossible to please some people. No one knows this better than Jessie J. She's one of the UK's most successful musical exports and she's one of the few pop singers around at the moment you could call a proper artist. With her massive pipes and roster of well written pop songs it's going to take a lot to stop her. Her latest album Alive is great as far as quality is concerned and a big step forward with more grown up material.

New single 'Thunder' may be her best single to date. It opens with a throbbing beat before exploding into a chorus fit for Wembley. Her vocals are on point, as usual, and it's the first time in a while she's sung about something other than how amazing her life is as a pop star (as lovely as that is to hear) and playground rooted anthems about being individual and enjoying yourself. Definite contender for my top 25 songs of 2013!

5/5

Rated: Mutya Keisha Siobhan (MKS) - Sacred Three Tour Glasgow 2013

I always said I'd never be front row at a gig out of fear of being crushed to death by a raving crowd of maniacal fans. That changed when I walked into the O2 ABC in Glasgow last night and saw that we were amongst the first 20 people inside the venue and there it was, the perfect spot to fit two excited MKS fans. Our space at the Glasgow date of 'original Sugababes' trio Mutya Keisha Siobhan's first headline tour, Sacred Three. 

Things got off to a strong start with an impressive Mike Hough for support. His set was only about 15 minutes long but it was fitting as support to a group that pride themselves as a 'vocal focussed group'. After millions of record sales in their many guises as the Sugababes, these three proved over the 1+ hour set that they are the strongest incarnation of the iconic brand, in presence, like-ability & in vocal talent. The lights dimmed and 'Promises' kicked in as an intro track before the girls had even stepped on stage. It's a fitting flashback to their debut album One Touch, an album so underrated it pains me. The synths start popping and swishing right before the iconic production of 'Overload' comes into ear shot and the crowd go crazy. Mutya's in the tiniest shorts known to man, they must be custom made because I have never seen anything quite like them. Siobhan is carrying a mass of red hair on her catwalk ready frame & Keisha is looking smoking hot, as always. Mutya sits closest to us, facing me head on and sends a cheeky wave of acknowledgement (Instagram proving its social worth!). As predicted, their singing abilities haven't lessened over the years. All three blend and harmonise perfectly on a track that is as timeless as their talent. The nostalgia keeps flowing with an amazing performance of early single 'Run for Cover'. 

I never doubted Siobhan could fill the role of Heidi on the later 'generation' of Sugababes' tracks and

her input on classics 'Hole in the Head' and 'Stronger' act as a firm reminder of just how incredible a singer she is. The former got the crowd heavily involved in a sing along and a standard 'who can sing/shout the loudest' contest. The latter was a gig highlight, powerfully sung and startling in a live setting, Siobhan's take on Heidi's mid section sending the die hard fans into a state of hysteria. Mutya and Keisha applauding her from the side was a nice gesture too, making it clear these girls really do get on well. 

The first new MKS song we get to hear is 'Boys', a poppier affair than their 'debut' single 'Flatline'. It's fun, catchy and perhaps the most 'pop' sound we're going to get on their upcoming album. This is followed by Sia penned 'I'm Alright', a song so well structured it deserves some sort of pop medal. 'You wanna know if I'm lonely/ well I've been alone now for years/ I've cried all my tears/ I'm Alright...' they sing over echoey production. It all fits so perfectly together it begs to be a single. 

We get thrust back into the past with a jaw dropping rendition of 'Too Lost in You', Mutya stealing the focus with her stunning solo segment. We get pulled forward again with new song 'Love Me Hard', an understated track with a smooth soulful chorus; it'll be interesting to hear this translate into a studio recording. Keisha's solo performance is mind blowing on this one and when she hit those high notes I felt like I'd been kicked in the balls. The crowd chants for 'No Regrets', popularised by an acoustic performance in the Google+ sessions. The album version of this song is suitable for a slow dance with its mid tempo pace and yes, the vocals were of course amazing. Again, Mutya's solo verse is so soulful and distinct you realise that this woman deserves a spot in the Pop Hall of Fame for vocal talent alone. 

Things get wrapped up by two of their most memorable songs, 'Push the Button' and 'Freak Like Me'. This group really did (no matter what line up they had at the time) write and release some of the greatest pop songs of our generation. You actually forget just how good songs like the above are until you hear them live and you remember dancing in your kitchen, perhaps doing the hand swish dance move for good measure (maybe, maybe not?). The three minxes and Mutya's hot pants (they might actually be shorter than hot pants?) dash of the stage, thanking everyone for a great night. We know you're coming back, don't bloody toy with us.

Of course they did come back for an encore. Three new songs, starting off with Kendrick Lamar rerecording 'Lay Down In Swimming Pools' and rumoured new single 'Today'. Both a brilliant build up to the moment all MKS fans have been waiting for, 'Flatline'. The fact it hit a peak of 50 on the charts is really sad, considering the amount of utter shit that makes its way to the upper reaches of the top 40. It at least deserved top 20, but hey ho, that's the way music is bought. I hope you can sleep with yourself knowing you bought some pish Pitbull single while real talent got overlooked. Anyway, 'Flatline' is mesmerising live. All the harmonies are on point and the crowd gets fully involved to the point it's hard to hear MKS. I even found myself acting out the military drum build up with my hands. 

I am of course biased when it comes to a review of an act I fully support. I would, however, never compromise objective opinion just because I like an artist. If this gig had been awful I would tell you, 'it was shite'. Thankfully, it wasn't. It was in fact, technically, one of the best gigs I've ever been to. This is based on stage presence, vocal ability and song quality. If the full MKS album is as good as the material I heard last night, it could very well be one of the most credible albums of 2014. If they decide to stick on a bonus disc of their greatest hits, featuring Siobhan instead of 'whoever' that would also make it an even more amazing purchase. I urge you to see them live, because they're the type of act that could sway even the most staunch skeptic with their solid harmonies. 

5/5

Rated: Sia - Elastic Heart & a few suggestions from the past

I'm a bit stressed thinking about how well known/popular Sia is becoming this year. The stress comes from the certainty that people will respect her only for her song writing and features on massive dances tracks and film soundtracks, and not for the incredible 3 albums that precede these ventures. If you haven't listened to Sia's solo work before, you need to do so now before it's too late and you are sucked into the David Guetta coven. 

She's got a new single on the Hunger Games: Catching Fire soundtrack called 'Elastic Heart', featuring Diplo and The Weeknd. It retains the sometimes quirky production of her back catalogue and it certainly shows off what an incredibly talented vocalist she is. If any song was a good starting point 'Elastic Heart' is it. 

If by any chance you are interested in hearing some of her past works, here are 5 suggestions for you to get hammering into Spotify:

1. Clap Your Hands
2. The Girl You Lost to Cocaine
3. Breathe Me 
4. I'm In Here
5. Hurting Me Now

Rated: Jessie J - Alive

Jessica Cornish morphed herself into pop powerhouse Jessie J over 3 years ago. Since then, she's released a multi-million selling debut album Who You Are and boasts 11+ million single sales across the world; she's 25. Once you get over the fact that she's much more talented and far richer than you are (goddammit) you realise what a contemporary chart force she's turned into. Love her or hate her, you're undoubtedly going to tap your foot to 'Price Tag' and even commandeer the dance floor when the behemoth 'Domino' riffs into ear shot. In a 'chart active' career now spanning 3+ years, she's achieved a lot more than many in the industry, much of which can be attributed to talent, some solid marketing and hard work.

A born song writer, Jessie J proved her artistry with her debut album. However, it wasn't perfect, somewhat of a melting pot of genres with a few moments of stagnant immaturity ('Who's Laughing Now?). That said, it sold over 1 million copies in the UK alone, cementing her as one of the country's most respected and prolific pop exports. What Jessie J really needed to do was move forward from teen-like insecurities and mature as an artist. 

Alive is her second album and it's certainly a much more 'grown-up' collection of songs. Her evolution as a song writer and vocalist is apparent on tracks like 'Thunder', an incredibly infectious mid-tempo power ballad, with oodles of 80s charm and vocal prowess. Her vocals continue to shine on the exhilarating 'Breathe' and she becomes more emotive than ever on downtempo piano ballad 'I Miss Her'. The rocky synths and vocal control on 'Square One' make it an album standout, with a Future style vocoder segment slotted in to break things up.

We need to remember Jessie J is a pop artist. Her music's suppose to be 'popular', easy to listen to, catchy and most of all fun. That doesn't stop her cracking out some bloody incredible tracks here and there, case in point 'Daydreamin', a song Mariah Carey would have been proud to call her own when she ruled the US pop scene. 

There's no shortage of collaboration on Alive. Her duet with Becky G 'Excuse My Rude' is the only skippable number here (I've played it twice on 6 listens) and serves as this album's WLN. Thankfully the remaining collabs are brilliant. We've been exposed to the thumping beast 'Wild' featuring Jay Sean and Dizzee Rascal, with it's insanely catchy drum rumbles and an impressive turn from Dizzee. It's 'Conquer the World' featuring Brandy that really stands out though. Not only is Jessie J singing with one of the most successful female artists of our time, they're singing a decent song together. It's guitar lead ballad mastery at its finest. 

Alive is a huge step forward from Who You Are. It's a bit more grown up, packed with some real pop brilliance, and showcases a much more vocally controlled Jessie J. It's not as jumbled as its predecessor, serving as a far tighter collection of songs. She's survived the curse of the sophomore album in terms of quality, let's just see if it can match the high level of success she's set with her past musical expeditions. 

Download: Daydreamin' / Thunder / Square One / Wild

4 / 5

Rated: Naughty Boy Featuring Emeli Sande - Lifted

If you attended your gran's 70th birthday celebrations last year it is almost a certainty that Emeli Sandé performed. I'm right... right? The performer of almost any televised event in 2012 is back after a relatively lengthy 6 monthish hiatus, at least by her standards. She's come back with her pal Naughty Boy, with whom she sang on the stunning 'Wonder' last year. It's one of those songs that makes you feel lucky it popped up on shuffle, lucky to have it in your life. Just me then?

So what's the new collaboration like then? 'Lifted' is an exciting track, harking back to Emeli's own debut single 'Heaven', a glorious song that should have gotten far more attention than it did. It's packed with trip-hop bells & beats, laid under Emeli's incredible vocal arrangement. The opening quivering violins are beautiful and the songs build up is subtle but ultimately explosive. If this pair did an entire album together it would more than likely be perfect.

5/5

Rated: Katy Perry VS Lady Gaga - Roar VS Applause

They're both back. They both have impressive back catalogues of pop-amazingness. It's hard to decide who you prefer because they're both incredibly influential 21st Century pop artists. One sings a bit better than the other, but then the other did wear a whipped cream jizzing bra. The choice is nigh on impossible. Let's make the call based on their new singles? Fuck yes!

Katy Perry - Roar

'Roar' follows an album packed with more pop perfection than it had the right to. Katy's vocal's are strong throughout, bursting with conviction. It sounds a bit like 'Hard Knock Life' when it bleeps into ear shot, then the chorus blasts into a pop/rock mid tempo stadium shaker. The 'you're gonna hear me roar-oh-oh-oh-oooohoooh' is so catchy it sticks in your head even when you're sitting on the toilet... true story. This is a melodious pop masterpiece and let us not overlook the input of pop Sith Lord (he must be evil to be so powerful) Max Martin. Long may he live.

5/5

Lady Gaga - Applause

'Applause' opens with shaky David Bowie imitation vocals and a Tetris on acid electronic arrangement. The chorus is the song's strong point; it's typical Gaga, big, ballsy and camp. Her vocals are solid and at points the production is exhilarating, particularly when the chorus erupts like a pop volcano. This was designed for a gay club dance floor, much like the majority of her upbeat roster. After cancelling some of her world tour due to a hip injury, this will certainly have her fans back in their bath tubs, pouring breakfast cereal all over themselves in Gaga fuelled euphoria. Even if you don't like her, no one can deny how fucking brilliant/essential her pop-artistry is.

4/5

Katy just wins this battle. However, overall both of them are so brilliant it would be callous to choose one over the other. 

SOZ I CHOOSE KATY!

Rated: VV Brown - The Apple

VV Brown is one of those 'should have been big' artists. She bubbled under the surface of the pop soup for a long time but never quite popped her head through. A song like 'Shark In the Water' certainly should have cracked the top 5. Alas, who am I to judge the music buying habits of the British public (WTF ARE YOU SPENDING YOUR 99p ON?!).

Her new single, 'The Apple' is completely unexpectedly incredible. It's a dark electro pop number, with thick thumping synths beating throughout and a haunting vocal arrangement. This is a vast step forward for VV, let's just hope it gains her some more fans.

4/5

Rated: Jessie J - It's My Party

Jessie J will never be everyone's cup of tea. She's a bit like the liquorice tea of the pop world, personality wise. However, that being said all the same bitches love her songs even if they don't/won't admit it. There is no denying this girl got some big vocal chords in the womb and there's certainly no doubting she's one of the UK's most interesting and successful pop acts in years.

'Wild' was a double collaboration pop behemoth that stayed fresh even after 50+ plays. In short, it was fucking killer. Now, she's releasing 'It's My Party', a catchy as hell pop track backed by poppy guitar riffs and lots of wooooaaahhhooo-ing throughout. It's typical Jessie J, which means it's typically fun, frivolous pop tartery.

I like this.

4/5

Rated: Mutya Keisha Siobhan do Scala; are still very good.

Yes, another MKS post. Yes, this blogger is obsessed. Yes, I wish I was batting for Keisha Buchanan's team because she's banging. Yes, the original Sugababe's trio performed a full live show for the first time in over a decade and yes, they were very bloody good.

I wasn't there, so my "very bloody good" is based solely on Youtube clips, the witness accounts of others across the internet and through extreme personal bias. Mutya Keisha Siobhan kicked things off with their debut single 'Overload', a song that's still too cool for its own good. They continued rolling their fans down the grand hill of nostalgia with should have been a mega hit 'Run For Cover' and an incredible performance of 'Stronger'. You can't even hear Siobhan's rendition of the Heidi Range vocal properly because the crowd morph into a pack of wild bitches on heat. 

Enough of the oldies, we want to hear some new music. One of the standouts from the set is 'I'm Alright', a Sia Furler co-pen with the group. It's a mid-tempo piece of balladry with a catchy as hell chorus and lots of lovely MKS harmonising. Keisha's vocals are strong, Siobhan's packed with emotion, but it's Mutya's middle section that stands out. 'No Regrets' is another new track, similarly to 'I'm Alright', it's mid-tempo and about love. Keisha opens it with a stunningly performed verse and Mutya kills the second verse with her smooth soulful rasp. Another new, killer track is 'Lay Down In Swimming Pools', a spin on a Kendrick Lamar song. It oozes cool more so than any of the other new tracks, perhaps more than any of the Sugababe's back catalogue. 

They close the show with new single 'Flatline'. This is my song of the moment, that's no secret. It's creeping up to the higher reaches of my top songs of 2013 draft right now. The performance is solid; amazing vocals, blends, energy thumping through the crowd (if I'd been there I'd probably have stomped a trench into the floor).

Having Mutya Keisha & Siobhan back together is more significant than a lot of people realise. It's not just three women singing some songs and selling some records, it's much more than that. All three of them are skilled songwriters and two in particular (M & K) are responsible for some of the UK's most successful and most critically acclaimed pop songs, making them important contributors to British pop as a whole. If the Scala gig in London serves as a taste of what to expect from the quality of their second album together, we're about to be presented with a very exciting and important moment in UK pop music.

Rated - MKS update - Album Complete

Important MKS update - the new album is finished!

Again, preview of the new single 'Flatline' below. Incredible sound from incredible singers. Apparently they've been working with Sia on the new album too, which only makes me pee in my pants even more! I can't afford anymore new pants!

Rated: Mutya Keisha Siobhan (MKS) - Flatline

So I only just heard this snippet from the upcoming Mutya Keisha Siobhan track 'Flatline'. 

The vocals.

The blend.

The harmonies.

MKS.

Heaven.

For now I'm saying 4/5. Probably a 5/5, but for now.

Rated Beyonce - Grown Woman

I finally heard the full version of Beyonce's new single 'Grown Woman' this evening, albeit at mediocre quality. It's been a long time coming; it must be pretty hard to put together a new album when you're popping out a baby, so I'll let her off this time. First thoughts are:

1. It's pretty awesome.
2. It's a better lead single than 'Run the World', which was an uber grower.
3. It's a brilliant track to tease a new album with. I only hope the album matches this quality.
4. It's a Beyonce song... always a bonus.
5. I want to dress in tribal garb, open a bottle of Prosecco and drunkenly bogle around my flat.

This is an amazing Timbaland production, with a distinct & memorable tribal arrangement. It's a blatant tongue in cheek number, which is nice because we get to see that Beyonce doesn't take herself too seriously (although she probably does). This is an instant 'like' for me, but I can see it softening even the hardest of Beyonce haters. Also, it performs fantastically well on tour:

Rated #Beautiful - Mariah Carey

Mariah Carey is the queen of the comeback single. It seems that every time she releases the first song from a new album these days, it feels like a comeback. Whether this is a generational thing, that we feel like she needs to work that little bit harder to maintain some semblance of success, I'm not sure. So for the sake of continuity let's call her new single '#Beautiful' another comeback after the poor performance of her last album Memoirs of an Imperfect Angel. 

#Beautiful sounds like a car crash song title, but thankfully this is nothing short of pop perfection. Featuring American artist Miguel, who opens up the track for us, this is a soulful mid tempo ballad with no mention of the word "hashtag" (what a relief!). Miguel opens with smooth vocals, taking the helm for verse/chorus number 1, followed by Mariah belting out in a more appropriately controlled manner than usual. 'I like when you run red lights/ Don't stop till you thrill me/ Oh how you thrill me' she swoons over the low key r'n'b production. This is a classy pop affair, the classiest we've seen Mariah in a long time and one of Summer 2013's brightest tracks.

5/5

Rated: Katy B - What Love Is Made Of

It's been a while since I posted... apologies if you thought I was dead or something. Hi - I'm back! So what better way to celebrate than with an amazing new track from funky dub step princess Katy B. Her new single is long overdue, following on from her incredible debut album On a Mission which included some bloody brilliant tracks (Title track, Broken Record, Lights On - to name a few). Hoping to bag herself her first number 1, she's releasing 'What Love is Made of'.

This is a smooth house track, with a gorgeously constructed chorus and soft beat production. Compared to some of the harder tracks from her debut, this is pretty tame. She gets lyrical about a man with her soulful, gentle vocals, whilst maintaining perfect control throughout. There are no gimmicks here, just great music from a great contemporary female British artiste. 

5/5