Rated Firework.

I reviewed Katy Perry's brilliant new album, Teenage Dream, back in August. It's been over two months since its release and somehow it's transitioning across the seasons, from summer chart topper to winter warmer. Lead single 'California Gurls' was a silly summer anthem and 'Teenage Dream' was a bloody corker. Now she releases her third album sample, 'Firework', which is a euphoric head rusher.

Brimming with more meaning than any other Perry release, 'Firework' is a far more credible example of her artistry than any other song. "Baby you're a firework, come on show them what you're worth...", she belts out on the massive chorus as the Stargate production launches her vocal into another spectrum. This is a damn good single, with more clout than a demolition ball. It's hard to see how she'll outdo this, but I'm sure she'll crack out a surprise soon.

Also, see the video, because it's beautiful. 


5/5

Rated Flashback - I Am... Sasha Fierce.

Two years ago, the mega-pop-force that is Beyonce Knowles, released her third studio album in the hopes of trumping the success of her previous efforts, Dangerously In Love and B’Day. The former a strong collection of songs, presenting the solo quality of this young woman’s talent, featuring massive hits such as the almost iconic ‘Crazy In Love’ and the beautiful ‘Me, Myself and I’. The latter stepped forward from her debut, filled with more hip-hop aggression and big stage numbers. ‘Deja Vu’, ‘Upgrade U’ and ‘Freakum Dress’ are packed with the sass and vocal potency that makes Beyonce the superstar she has now become. Now, years on from these collections, Beyonce has a point to prove and she does it well.

I Am... Sasha Fierce is a two part album. The first, I Am, serves like an expose of Beyonce’s internal emotional world. Lead belter, ‘If I Were a Boy’, is perhaps the best song of 2008. With vocals unmatched by anyone, and a brilliant music video, the song cemented itself as an essential Beyonce treat (as well as being her biggest UK seller to date). I Am is a ballad saturated segment. ‘Halo’, the most stunning song Beyonce’s ever performed, is a euphoric experience. The epic production value and introductory playful piano build up, make this track special. Apparently, it was written for Leona Lewis, but thank Britney it went to Beyonce, because this is probably the best produced track of the 00s. Written and produced by contemporary power ballad hit maker Ryan Tedder, ‘Halo’ was an unstoppable force when released. Other sumptuous morsels are ‘Disappear’, ‘Broken Hearted Girl’ and ‘Smash Into You’, which sounds tremendous live. The stripped down ‘Satellites’ is hypnotizing and the closer ‘That’s Why You’re Beautiful’ sounds completely untampered with. The main mission of this segment of the album is to show off Beyonce’s vocal talent. Her voice roars through every song here without faltering and she always seems in control of the song rather than being drowned out by over-production. Production is kept minimal, with a somewhat live quality to the sound of Beyonce’s voice throughout. There are weaker moments, in the form of ‘Ave Maria’ and ‘Satellites’, which aren’t bad but just seem dwarfed by huge moments like ‘Halo’.

So, Beyonce is too famous to have everything mixed onto one album? If Sasha Fierce is anything to go by, then she definitely is. Opening with one of the most infectious songs of all time, ‘Single Ladies (Put A Ring On It)’, the second half of this momentous career milestone, immediately sets the tone for this epic record. ‘Radio’ and ‘Diva’ follow, the former an electro-pop infused anthem about, well, listening to the radio, love and what not. The latter is the most aggressive we find Beyonce on this album. “A diva is a female version of a hustler”, she snarls at the beginning of the song, followed by wickedly sassy lines like, “When he pull up, wanna pop my hood up, he better have a six pack in the cooler...”. Perhaps the coolest song Beyonce’s ever written/performed, ‘Sweet Dreams’ revs straight into fifth gear with a growling riff that lingers throughout the song. It was produced by the lady herself along with Rico Love (producer for Alexandra Burke, Michelle Williams and Ciara), and if this is how Beyonce produces, she has no worries about the safety of her musical future. ‘Video Phone’ (later remixed with Lady Gaga) is one of the album's weakest moments. Although burgeoning with sex and sass, it feels a bit empty and a little underproduced for such an aggressively sexual song. It’s better without Gaga, but still doesn’t match the quality of ‘Diva’ or ‘Sweet Dreams’. Thankfully, the album doesn’t end here and Beyonce injects some more I Am style tracks to pull it back. ‘Hello’ is a stunning, mid-tempo ballad, probably about her superstar hubby. ‘Ego’ is original, quirky, cheeky and ridiculously catchy. It’s not perfect, but it’s a clever little song, bursting with innuendo. Closing the entire collection is ‘Scared of Lonely’, a surprise ending with its thin production and acoustic feel. It’s a well written and catchy, and once it gets going the production kicks in with some violins, a piano, and a basic but suitable beat to keep the tempo up.

I Am...Sasha Fierce is a pretty epic double album. It’s rather self indulgent at first, but when you’re as mega-famous as Beyonce it doesn’t really seem arrogant. Her voice soars throughout, seeming more powerful than ever before. There are no silly moments or fillers, like ‘Kitty Kat’ from B’Day, and there’s little to no vocal manipulation. Once the hugely satisfying ballad section is over and it gets ‘Fierce’, we’re shown just how damn foxy this woman can be. ‘Sweet Dreams’ has the sexiest production since Britney’s ‘Toxic’, and ‘Single Ladies’ is an undeniable classic of the 00s. It seems that Beyonce has evolved as a creative force, but can she go any further? We’ll just have to wait for the next feast to find out if she has any more levels to crank up to.

Rated Redemption.

My hand was made strong,

By the hand of the almighty,

We forward in this generation, 

Triumphantly,

Won't you help me sing,

These songs of freedom,

Are all I ever have,

Redemption Songs.

'Redemption Song' - Bob Marley

Rated Do You Want The Truth Or Something Beautiful?

God?

This is a very delayed review of Paloma Faith's debut album, Do You Want the Truth or Something Beautiful? The reason being, well I don't have one, but here it is now. With a soulful, classic vocal and authentic production, Paloma's debut is one of the triumphs of the last year. Amidst a sea of synthesised electro-pop sheep, she stands out like an uber-talented ginger thumb! 

From the epic opener 'Stone Cold Sober', Paloma is explicitly branding her style into our mind. Full of trumpets and not a synth in earshot, this album commences on a top note and is a gale force breath of fresh air. Her voice, not conventionally 'huge', but full of energy and passion, brings the intelligent lyricism of her debut single to life. The pace is kept high with 'Smoke and Mirrors', which is just as epic as her debut. "Now we're through, the show is over, the audience is walking out the room", she belts out as she compliments the end of a failing relationship. Things slow down a bit with 'Broken Doll'. A charming ballad about post-breakup repair, the song doesn't quite keep up to the standard of its predecessors. The title track is a beautiful, lyrical masterpiece, "The Prophet took my hand on all souls day, he preached the value of deception, changing shadows by a shapeshifter's rules, tales are never just for fools...". With a memorable melody and stunning vocals, this song should be an enormous success if sales reflect talent. 'Upside Down' continues the 50s dance-hall vibe of the album with its bouncing beat and Paloma's soulful crooning. 'Romance is Dead' is yet more fantastically original, intelligent lyricism, "a rose is blue and violet's red, say it isn't true don't tell me romance is dead". The biggest moment on this album is the megaton ballad 'New York'. Containing a wonderfully catchy chorus and gorgeous melodies, this song is the highlight of the entire collection. The final three songs of the album, 'Stargazer', 'My Legs Are Weak' and 'Play On' bolster the 50s sound further, establishing Paloma's soulful, vintage identity.

This is a brilliant debut from a British female artist, something we've been needing for some time. Some intensely stunning lyrics and vocal performances, DYWTTOSB? is a stellar first outing for this rather odd woman. She may seem like a bit of a weirdo in interviews, but once you absorb this album you'll merge the two experiences and come out with something almost perfect. Paloma Faith is the nicotine patch to the synth obessed music scene that's swallowing the charts whole at the moment. I just hope that she really takes off, because one more album like this could never be a bad thing.


4/5

Rated SG - One to Watch.

Cheer up love.

I've been enjoying this new artist for a couple of months now (Rated Sunday Girl) and for good reason. Sunday Girl a.k.a Jade Broxbourne, is a twenty-something singer/songwriter from England (I don't know the specifics) and is set to have pretty shiny year ahead of her. On tour right now and supporting Ellie Goulding on her UK dates, Sunday Girl is yet another female music force to add to the, now, burgeoning roster Britain holds.

Not only smokin' hot, Sunday Girl has some pretty pleasant tunes under her belt. I haven't heard her upcoming album Stop Hey! yet, but I am eagerly awaiting its release on itunes. The three songs I have heard, 'Four Floors', 'Stop Hey!' and a haunting cover of Laura Brannigan's 'Self Control', are great example of what's to come from this siren's debut. 'Four Floors' was the first song I'd heard from SG and I loved it immediately. It's got an intoxicating chorus and her vocals are inviting and soft. In the same style as Goulding and other females of this musical movement, SG's got a voice that's identifiable, memorable and quite unique.

I am already hooked on just one song and I know that she's got plenty more to offer, it's just a matter of time.

Rated Flashback - Fighter.

I remember when 'Dirrty' was unleashed on the world and all the conservative parents were flabbergasted by the gyrating hips and bear crotch of the now very sweaty Christina Aguilera. In a Madonna style transformation, something mirrored by a 'growing' Britney Spears, Christina morphed from (almost) innocent teen into a man eating, neo-feminist, mud slinging, danger to the youths of the planet. Xtina had arrived and we liked it. 

Once Stripped had commenced its onslaught on the charts, the brilliant single material began to fall into our audio channels. 'Dirrty', 'Beautiful' and 'The Voice Within' were all examples of this filthy icon's status as a fantastic artiste, but for me it was 'Fighter' that cemented her talent in our collective consciousness. With a magnificently original video, the song is her best to date. Packed with attitude, the song highlights Xtina's unique vocals and her skills as a song writer. The melodiously stunning bridge is a perfect build up to the epic final chorus. 'Fighter's' the kind of song that kicks you in the stomach and knees you in the face, but leaves you begging for more.

Glorious rock infused popestry.

Rated Robyn: Body Talk Part 2.

Body Talk Part 1 was good, but it didn't have the bite I was hoping for. Body Talk Part 2 however, swallows you whole and it's a joyous ride down into a musical cyclone. This is what we've been waiting for, Robyn whipping out an album full of 'Dancing On My Own' (s). 

Track one, 'In My Eyes', is a luminescent number, escalating to a gorgeous chorus with perfectly executed harmonies and amazing production. It's more melodious than anything on Part 1 (bar the obvious) and sets the bar high for the remainder of this second mini collection. 'Include Me Out' revisits the attitude of 'Don't Fucking Tell Me What to do', this time merging big beats with the sweetness of 'In My Eyes' to create a pretty damn good pop song. 'Hang With Me' kicks in and we have this album's very own DOMO, which in places is almost better. It's got a shining chorus with some great vocals and a cute ensemble of melodies. 'Love Kills' forces the album onto a U-turn, as Robyn moves from being all loved up to singing about how shit love can be. It's a strong club song, but doesn't really go anywhere. I keep waiting for a climax and nothing happens. 'We Dance to the Beat' is so original, pretentious, arrogant and oozes so much cool that it's impossible not to praise Robyn's bravery for putting something so odd onto one of her albums. Next up we hit one of my favourite songs from the Body Talk series, 'Criminal Intent'. It's bloody superb. Set up like a court hearing, Robyn's justifying her antics on the dance floor to a suspiciously young, rapper-like judge. "Somebody alert the authorities, I got criminal intent, conspiracy to engage in lewd and indecent acts and events...", she semi raps over a club ready beat. Thankfully this album doesn't lose strength at the end, with Snoop Dogg jumping on board for the dance floor sound of 'U Should Know', followed by a stunning acoustic ballad called 'Indestructible'. 

Body Talk Part 2 is a colossal success, especially compared to its predecessor. It's bursting with high quality artistry and cements Robyn's status as the coolest, most talented Swede out there. 


4.5/5

Rated Robyn: Body Talk Part 1.

How many parts are there going to be exactly?

The Swedish goddess of electro-dance pop is back and she's proving on her latest album that she's here to stay. So this is a bit outdated, as we're now almost on Body Talk part 3, but I felt that it was appropriate to draw your attention to the wonderful talent that is Robyn.

Her first mainstream success Robyn, was brimming with charm. Hit single 'With Every Heartbeat' is intensely infectious, as are follow up singles 'Who's That Girl?' and 'Be Mine'. However, Robyn is doing things a bit darker this time round. From the almost rap opener 'Don't fucking tell me what to do', it's made clear that her latest offering is doing things a little differently. Everything still sounds 'Robyn', but it has an intoxicating twist to it that I can't quite put my finger on. 'Fembot' is ridiculously funky feminist pop (pump it up loud to gain full benefit). Next up is the glorious 'Dancing On My Own', which is now one of my favourite songs of all time. It's instantly memorable and has a fantastic hook and some lovely 'Ooohh Ooohh'-ing. "I'm in the corner, watching you kiss her... I'm right over here, why can't you see me...?" sings Robyn on this ode to unrequited, one sided love. Nothing else on the album quite matches the epic quality of this track, but all its brothers and sisters are good in their own special way. 'Cry When You Get Older' continues the electro-dance vibe, only for it to be interrupted by the reggae dance hall brilliance of 'Dance Hall Queen'. Furthering this change in sound, 'None of Dem (featuring Royksopp)' is a grower, but lacks the impact of the artists past collaboration on 'Girl and the Robot' which unfortunately slipped by the mainstream radar. Closing the mini album off is a beautiful acoustic version of future single, 'Hang With Me' and the rather random Swedish lullaby sound of 'Jag Vet En Dejlig Rosa', which seems a bit pointless and ostentatiously Bjork.

Overall, this is a brilliant little collection of songs. It's got no fillers, although there are a few shaky, random moments. It houses one of the best songs of 2010, if not the best and some classic Robyn material for future fans. The very good news is that Part 2 gets better, a lot better.

3/5

Rated Xfactor disgrace.

Love you bbz.

Ok, so people aren't happy with the decisions a certain Mrs. Cole made on tonight's Xfactor. I personally think there are better singers in the competition who didn't get picked and that this is an error, for now. I could be proven wrong though, and the girls who are causing (already) so much outrage (Katie and Cher) could turn out to be amazing on the live shows and not the standard, boresville contestants that end up being chewed up by the bigger competitors. Katie has a pleasant voice. She's annoying, yes, but she sounds pretty decent. With some work she could be a strong contender. I'm going to be really controversial and say that I actually kind of like her and think with a kick up the ass she'd drop the  try-hardness and blossom. As for Cher, she shouldn't be through on the basis of her not actually managing to sing her final audition. Simple as that. Sore throat or not, she shouldn't be through on that alone.

The problem I have right now, the thing that's really pissing me off is that people are ripping a 16 year old girl's character to pieces on Facebook and Twitter. She's 16, SIXTEEN. I think it shows just how disgusting the British public can be, when a young girl sets out to follow her dreams (which we're all encouraged to do) and gets mauled because of someone else's decision. Cheryl should have picked someone else, someone who managed to finish their performance, but she didn't. So let's wait till we see the live show next week before we even consider 'hating' on some insecure little girl. As for Gamu, she can sing but she cried so much I was actually numb when I thought of her. So please, just get over it and wait.

I think the groups are the ones to watch this year. It'd be nice to have a group win for a change, although I do love Aiden and Rebecca. We'll see what happens next week. In the mean time I'm going to exhale the disgust I feel for my fellow facebookers by singing 'Russian Roulette' really loudly. 

Rated LOUD cover.

STUPIDLY EXCITED.

Rated RAWR.

HUBBA HUBBA. Girl looks fine. 

Rated: Must Listen.

I've known about them for some time now, but since the whole Mercury Prize hype explosion everyone's talking about the XX. Their debut album X is a hypnotically wonderful collection of minimalistic songs, topped with some of the softest vocals you'll ever hear.

Best Songs: 'Islands' and 'VCR'.

Try, please. 

Rated Only Girl.

She's notched up an impressive tally of billboard number one singles and sold millions of albums all over the world. She's been the driving force in a new wave of 'edginess' and she inspired the name of my baby, 'Rated i'. Yes, Rihanna is pretty big right now and by the sounds of things, she's about to get even more immense.

Her latest morsel, 'Only Girl (In The World)' is the first song to be lifted from her next studio album Loud and hops on the dance bandwagon that's circling the scene right now. No doubt the 'lady of cool' will be accused of copying Lady Gaga, because let's face it, who isn't? Thus I must remind everyone that before Gaga popped up in full force, RiRi was pounding out foot stomping delights like 'SOS' and 'Please Don't Stop the Music'. The Stargate production is uplifting and fresh, immediately inducing a desire to dance. Once we get through the sexy sounding verse we fall into an exhilarating chorus that shows off Rihanna's growing vocal abilities. The song is as club ready as can be and is a total contrast to the dark tone of much of her Rated R material (bar 'Rude Boy').

I'll miss the R rated Rihanna, but I'm quite excited about the step back and simultaneous step forward that she's taking. Back to the dance floor and forward to one more million seller. RiRi is back, even though she never left.

5/5

Rated Rihanna Impending.

[MINE. Last Girl on Earth Tour, Glasgow, 2010]

So I've heard, on the 'grape vine', two snippets from Rihanna's new batch of titillating material. Turns out it's completely different to the epic dark brooding of Rated R which everyone knows was my favourite album of the last year. Loud is a step back to the dance pop of Good Girl, Gone Bad, but also a step forward to a unique dance pop that identifies Rihanna as an artist doing her own thing in the genre. The first track I heard was 'Only Girl (In the World)' which is an immensely satisfying club ready beast, that sounds a bit like some of the dance music that came out in the early noughties. If you can, listen to it, because it's really quite a pleasant surprise and new direction, plus her voice sounds the best it's sounded in her entire career. The second 'Who's That Chick?', a David Guetta collaboration (therefore it's going to be huge), which has the coolest, most entertainingly fresh video at this end of 2010. Riri's voice is manipulated to sound robotic but it works well for a one off tune that's both exciting and as catchy as swine flu. So far, I am impressed. Keep it up baby cakes!

Loud is out in November. I am going to hibernate until the glorious release date.

Rated KPTD.

Two years ago, the controversial, nutty and incessantly charming Katy Perry unleashed her debut album. One of the Boys spawned one of the catchiest and silly songs of the decade, 'I Kissed a Girl', and the album itself sold over 1 million copies in the US alone. Following a string of ridiculously catchy tracks (Hot 'n' Cold, Thinking of You, Waking Up in Vegas) Perry is back with Teenage Dream. It's an onslaught of intoxicating pop songs, only this time she's moved away from the American girl rock band sound of her debut to dance-pop.

The title track 'Teenage Dream' sounds like the theme song from an 80s teen movie. It's one of the most summer friendly songs of the year and one of the most uplifting and exhilarating Perry has ever written. Singing about a road trip, getting drunk on the beach and 'going all the way tonight', the song is an ode to teenage romance like no other. "Let you put your hands on me in my skin tight jeans, be your teenage dream tonight", Perry sings in the most orgasmic chorus of any song on the album. By the climax you'll be jumping about like a 17 year old in an imaginary room covered in Brat Pack posters.The tone of the album is now set and it doesn't diverge from this nostalgic dance-floor path for some time. 

Teenage Dream is definitely the 'girl's night in' album of the decade (but boys can enjoy it as well, of course). 'Last Friday Night (T.G.I.F)', like the title track, sounds like something from a teen flick. Perry sings, "we danced on table tops, and we took too many shots" - sounds like a typical work night out to me. Next up is the global, number one, behemoth 'California Gurls'. Its cheeky lyrics about dancing on the beach, "daisy dukes, bikinis on top", and Perry's teasing "all that ass hanging out" alongside Snoop Dogg, makes for an eponymous summer anthem. 'Peacock' continues the sexual innuendo of 'California Gurls', essentially talking about the pleasant surprise a guy's 'member' provides her with. Breaking this cheek is the potent 90s dance sound of 'Firework'. With a build up reminiscent of N-Trance, Perry births her own idea of dance infused pop. The most notable part of this song is Perry's voice, which seems to have matured since her debut and harnesses much more power and depth.

Stepping back in time to the rocky feel of One of the Boys, we have 'Circle the Drain'. This attack on drug addiction and/or alcoholism (perhaps that of her ex?) has Perry putting down the effect the habits have on her relationship, "You think you're so rock 'n' roll but you're really just a joke". The chorus is immensely catchy (as expected), "You fall asleep during foreplay, because the pills you take are more your forte, Wanna be your lover not your fucking mother...". It's impossible not to love this song and it's a definite classic, perhaps more so once Perry reaches album number 4 or 5. Furthermore, 'The One that Got Away' is a strong contender for single number 3, with its bouncy, twee, pop beat engulfing your senses like some kind of mouth watering, musical candy floss. "In another life I would be your girl, we'd keep full of promises, be us against the world...".

No album is perfect. I enjoyed most moments here, however 'E.T' is not one of the tracks I would choose as first play on Ipod shuffle. It's interesting that to continue the retro feel of the album we have one of the most retro icons of film in a song title, but it's just not as memorable as the superb tracks I've already touched on. 'Who Am I Living For?' doesn't live up to earlier ballads ('Lost' = beautiful); Perry's voice is big, but the song just doesn't captivate. However, 'Pearl' is a fantastic tale of a girl whose talents and beauty are stifled by an unnamed male who is jealous of her potential. The beat thumps on this dance ballad as Perry belts out lines like, "She is a pyramid, but to him she's just a grain of sand" and "Oh she used to be a Pearl, she used to rule the world, can't believe she's become a shell of herself...". Recovering from the two less interesting tracks, Teenage Dream gives us vintage Katy Perry with the teen rock of 'Hummingbird Heartbeat', which is as charming as songs like 'One of the Boys' and 'Fingerprints' from her debut. Closing track, 'Not Like the Movies' is a surprise ballad to round of an album which has such a strong dance vibe. Singing about how love isn't as perfect as it appears in, well, the movies, Perry dishes out 'Lost' style vocals on a track I am indifferent to.

It's definitely a step forward from her debut and Perry's vocals seem to be a lot more controlled and distinct. Injecting a different genre into her sophomore album was the best concept in pre-production, as had we been presented with an identical effort to One of the Boys, we would be feeling rather deflated. Interestingly, the two albums work quite well together when shuffled as there are enough similarities to cement this music as Katy Perry's. It’s unfortunate that some of the songs here are overshadowed by their friends, but the good ones are so good it doesn’t really matter. What we have here are the signs of a potentially great artist. She may not warble like Christina and GaGa, but she certainly knows a punchy pop song when she hears it and proves here (along with her debut) that she can write a bloody good pop album.

Rated Sunday Girl.

I came across this song when it played at my work and thankfully it continues to pop out now and then. It's just, well, lovely (not forgetting catchy as...).

Rated We Are Born.

Clap Your Hands in an ovation to this marvel.

When Sia Furler's 'Breathe Me' was used as the theme tune for the hit tv show 'Six Feet Under', its gorgeous simplicity was an instant winner. The album from which this morsel was plucked, Colour the Small One, was a brooding masterpiece with quirky lyricism and Sia's dry but sumptuous vocals pouring out over down tempo, beautiful songs. Next came a slightly more commercially friendly release, Some People Have Real Problems, which contained some of my favourite songs of all time such as 'Death by Chocolate' and 'Buttons'. It was Sia's next move which would cement her position as one of the most consistently 'different' artists out there, commercially successful or not. She has not disappointed.

We Are Born is an uptempo, much more cheerful collection of songs. Sia's songwriting skills and ear for a delightful hook are unsurpassed with this latest effort. The opening track 'The Fight' begins with children chanting the album title, before Sia brings in her powerful vocals to sing to us about winning an emotional battle and human unity, “we made it through the darkness through the light/oh how we fought, but still we one the fight/yes we stand together!”. From the bouncing melody of the opener to the disco-funk inspired 'Clap Your Hands', which is the most memorable and enjoyable track on the album. 'Clap your hands, clap your hands/come and dance take a chance on romance we only get one chance'. The song is Sia's most dance floor friendly (sadly this entire album will be overlooked by critics and commercial radio stations, denying this great artist the recognition she deserves- whether she wants it or not) and has racked up the highest play count of all the album tracks on my nano. The final run of the chorus is belting, as she wails and howls harmoniously throughout.

We Are Born is certainly bouncy pop, illustrated by the infectious 'Stop Trying' and the neo-disco beats of 'You've Changed', which highlights Sia's originality as a song writer. Although more mid to uptempo numbers follow, 'Bring Night', 'Hurting Me Now' and 'Never Gonna Leave Me', Sia has of course popped in some slower beauties to excite our sensors. 'Be Good To Me' and 'Cloud' being the most luminescent. The former requesting comfort and understanding from a lover and the latter a metaphor for releasing pent up sadness and anger, 'I am a dark cloud, swelling with rain'. The latter stages of the album are not as impacting as the earlier moments, that isn't to say that the album loses charm. 'The Co-Dependent', Big Girl Little Girl' and 'Oh Father' are all as enjoyable as the early songs, it is just a shame they lose the disco vibe laced throughout the rest of the album and are somewhat overshadowed by the bigger moments early on. 'I'm in Here' is the loveliest ballad Sia has written and with time becomes a moving story.

We Are Born is an important moment in Sia's career; it had to be different to its predecessors, reinventing the artist's sound and it has. Producing a more uptempo collection was a good move for an artist with a back catalogue of mid to down tempo songs. With some of the most amazing moments of any album this year, Sia has compiled a spectacular success of a record. She may not want to be famous and I may not want to share her with a mass audience, but it is, at the same time, a shame that her fantastic talent is unknown to so many. At least those of us who do know of her existence can continue to sway in an orgasmic hypnosis.

Rated Alanis.

After a 6 day working week I am finally reconstituting my self. Post 10 hour non-stop sleepathon, I arose with an urge (cheeky) to listen to some Alanis Morissette. I love this woman. I've been interested in her music for about 6 years now and I can't name one track she's recorded which doesn't please me in some way. Hence I am about to give you the low down on 10 succulent morsels of Morissette to sink your pearly whites into. Yum.

The 10 ESSENTIAL Morissette tracks - by me, an obsessive.

1] 'Ironic' from Jagged Little Pill - Right so this song was about as predictable as a hooker in Harlem. However, it is one of the ultimate songs of this feminist rock powerhouse. It may not actually be ironic (maybe that's the point?) but it has one of the most memorable choruses of any song I've ever encountered. Seeing her perform this live was one of the most exhilarating experiences of my life. It's her most successful single and remains the song which will see her remembered through the ages to come. Amazing.

2] '21 Things I Want In a Lover' from Under Rug Swept - "Do you have a big intellectual capacity? Do you see everything as an illusion? Are you both masculine and feminine?" Alanis lists, you guessed it, 21 things she wants in a lover. The song is the most rocky from this album which sees her sounds relax to an extent, moving away from the bitter undertones of her debut and Supposed Infatuation Junkie. It's one of my favourites simply because it's completely relatable. Anyone who hears this will identify one 'thing' they agree with ol' Alanis on. Definitely in my top 10 songs of all time. LOVE.

3] 'Incomplete' from Flavours of Entanglement - From her newest collection of songs, 'Incomplete' sees Alanis reflect on the wants of youth and the subsequent loss of these wants that come with age. She sings about missing the feeling of being incomplete and the desire for constant change that she felt as a youngster. It's quite bouncy for an Alanis song and the melody takes the edge off what would other wise have been interpretable as a fairly negative song.

4] 'Versions of Violence' from Flavours of Entanglement - I don't have a reason for putting this here other than the fact that I love how it sounds. It's so dark and brash, and to boot it has a killer chorus build up and huge hook. Definitely one of my favourites of the latest album.

5] 'Joining You' from Supposed Infatuation Junkie - Only recently coming across this track (because I didn't listen to Supposed in its entirety for years) I regret not having noticed it before. It's about suicide and it's wonderful. You might not agree before hearing it, but it is amazing. Trust me. SO catchy.

6] 'Thank U' from Supposed Infatuation Junkie - A classic. I needn't say anything else about it.

7] 'Forgiven' from Jagged Little Pill - It's about faith and about WHY we bother having it? Alanis says it's because we need faith. She gave up her faith but found it again, can she be forgiven for her misdemeanours? I'm not a man of God, not at all, but this song is my favourite Alanis song. I love the way she talks about the manipulative nature of the Church and organised religion. It's superb. Listen to it, now!

8] 'Mary Jane'  from Jagged Little Pill - "What's the matter Mary Jane? Had a hard day? Place the don't disturb sign on the door." Alanis addresses a friend (I think) and her apparent depression. Mary Jane has been pandering too much to the needs of others and neglecting herself. Leave to Alanis to sing her into motivation. The song is beautiful, melodic and has a lot of emotion packed into it. It's a keeper.

9] 'Sister Blister' from Feast on Scraps -  A song about female unity against men, by Alanis Morissette? Never. This metal fused ballad about the way women fall over themselves to gain male acceptance, at the cost of bonds with their 'sisters' is effective, memorable and packs one big punch in the throat. 

10] 'You Oughta Know' from Jagged Little Pill - It had to appear somewhere, but I thought leaving it till last would be more effective. It's recently been covered by Britney Spears on her Circus tour and more notably by Beyonce who spliced it with 'If I Were a Boy' for her tour and her grammy performance. It's one of angriest, most memorable songs Alanis has ever written and it's the most globally applicable songs out there. Anyone can identify with this (from a certain age) and it is undeniably one of the greatest songs ever recorded (argued by me of course). From a fantastic album, a fantastic revenge song.

Rated Bi~on~ic

Two years ago Christina Aguilera performed 'Keeps Getting Better' at the MTV Movie Awards. Following the show she was accused of copying Lady Gaga, for her electro-pop sound, straight blonde hair-do and black cat suit (you know, because Britney never did that before?). It seems the Gaga comparisons haven't stopped coming over the course of Christina's new production period. However, ignoring the now annoying links to Gaga (and by annoying I mean I am bored of Gaga comparisons!), Christina's Bi~on~ic is no huge disappointment nor is it the scorching memory branding I anticipated.

If Stripped gave us Xtina, Bi~on~ic gives us XXtina. Opening track 'Bionic' compares Christina to a rocket and has her stating, "i'll take you supersonic". It's a suitable introduction, setting the tone for the first portion of the album, which is as club ready as Britney's Blackout. Lead single, 'Not Myself Tonight', follows suit, delivering a massive punch as Christina demands she doesn't "give a fuck" what people think. A wise attitude from a woman who's been out of the music scene for a long time and whose future success rests firmly with the well-being of this album's sales. 'WooHoo' is a surprise on first listen. The haunting electro inspired build up bursts into a jungle drum/hip-hop bouncing club thumper, produced by Polow da Don who has worked with the likes of Ciara and Kelis. Perhaps one of the albums standout tracks and its second US single, 'WooHoo' is cheeky, naughty and damn dirty. From what I can gather, it's about going down on a girl. That's the Xtina we grew to love! 'Elastic Love', penned by MIA, is infectious and hollers back to the writer's Kala album. Tricky produced 'Glamour segue' featuring 'Glam' and 'Prima Donna', seems pointless in light of some of the strong songwriting credits on previous tracks.  'Glam' sounds like a reject from the Sex and City Soundtrack and a bad attempt at rewriting 'Vogue'. Thankfully the album is about to regain its foot hold.

'Sex for Breakfast' is one of the most charming songs I've encountered on a Christina album. It's melodic, her voice sounds fantastic and it's one big wink at the listener. Harking back to Stripped, Christina ropes in the wonderful talents of Linda Perry (Beautiful) and the result is superb. 'Lift Me Up' (sadly the only Perry penned track here) sounds a bit like the ballads of Stripped but new enough not to sound like a duplicate. "When you see me crashing, And theres nowhere left to fall, Will you lift me even higher, To rise above this all", 'Lift Me Up' displays the best vocal performance on the entire album; less shouting, more harmony. Three more ballads follow in this latter stage of the album (all with songwriting from the immensely talented Sia Furler), 'All I Need' is a song about the importance of baby Aguilera in his mother's survival and sanity. 'I Am', one of my favourites from the track listing, sounds like it would fit nicely onto Sia's startling album Colour the Small One. 'You Lost Me' is a strong ballad but pales in the shadow of the stunning 'I Am' and 'Lift Me Up'.

Bi~on~ic closes with a brilliant duet with the controversial lyricist Peaches. 'My Girls' is basically a rowdy Ladies Night esque track and the combination of Xtina and Peaches seems like a match made in provocative heaven. Final track (if you don't have the deluxe edition) 'Vanity' is in one word, hilarious. I don't mean it's bad and funny as a result, far from it. It's probably the catchiest song Christina's ever done. Hardly lyrically challenging, but so funky it, kind of, hurts. "I'm not cocky, I just love myself, bitch!" 'Vanity' is brimming with the attitude I hoped to see on Bi~on~ic. Xtina returns with BIG balls, singing to the bum-bumdedum of wedding music, "I take myself to be my lawfully wedded bitch".

Bi~on~ic is definitely not a failed comeback. Since Stripped, Christina's been acclaimed for song writing and her significant input into her own music. This 2010 onslaught is packed with juicy morsels of pop-tasticness. It may be a bit contrived at times and the album is just a little too long, but there's enough substance to outweigh the filler. Keeping vocal collaborations to a minimum the album sounds like Christina and nothing like the Gaga copy we were promised by critics and Gaga fanatics. The production is pretty damn amazing, with the likes of Le Tigre, Samuel Dixon and Linda Perry tweaking their knobs. Reigning in Sia Furler, Linda Perry, Peaches and MIA cements Christina's position as a respected and intimidating contemporary pop-force. 

Rated Christina Prev.

So Bionic dropped this morning and I am currently spotifying my face off.

I'll post a review tomorrow evening, once I wade through all 20+ tracks. So far though, on track 5 and it's completely different to anything she's released before. I don't hate it.