Iggy Azalea - The New Classic Review

Iggy Azalea wanted to be recognised by her label as a serious rap artist, not for her commercial viability. A high school dropout, Iggy worked with her mother cleaning hotel bedrooms to save money to make her dream of moving to America and pursuing a music career come true. In the end it did and it's clear from her debut album The New Classic that she takes her craft seriously and that her work ethic deserves nothing but admiration. This is a debut packed with sass, bite and odes to her journey to the top. 

Opener Walk The Line is a divine track, slipping from thumping rap production to haunting 'oohs' on the chorus, that showcases Iggy's fierceness and has her singing about the sacrifice of 'home' she made to get where she is. The New Classic is intended to reflect Iggy's personality, her belief and her attitudes to her life and the people around her. Don't Need Y'all is about the fake people who want to know her now that she's 'somebody'. The guy who used to flush your head down the toilet in school is suddenly your best friend sort of situation (not a personal experience).

Avril Lavigne - Hello Kitty

I won't lie, I'm not a massive Avril Lavigne fan. Yes, I owned her debut and sophomore albums (Let Go & Under My Skin) and both of those were pretty good. Since those album's though, Avril has gone from teen queen to 29 year old try hard and this is startlingly apparent with latest single Hello Kitty. The single echoes Gwen Stefani, but the comparisons end at echoes. The song is silly, has a shocking dubstep breakdown and showcases all of her vocal limitations (there are plenty). At this stage in her career, it's about time Avril Lavigne defined her sound and direction rather than releasing half finished, desperate nonsense.

0/5

Anastacia - Resurrection Review

It was a bit of a shock when Anastacia announced in 2013 that she had been diagnosed with breast cancer for the second time. The first time it happened she recovered and released her very good self titled album Anastacia. It was an album brimming with emotion, incredibly emotive vocals and a new found 'sprock' sound (soul/pop/rock) apparent on singles Left Outside Alone and Sick & Tired. Her 6th studio album follows on from 2 not so great collections; one of pop-disco and another of needless covers of artists like the Foo Fighters and Kings of Leon. The aptly named Resurrection is a vast improvement on those 2 predecessors and a fine return to form.

Resurrection's tone is dark, darker than that of Anastacia. There's plenty passion fueling the vocals throughout and there are moments where she is expressing her passion to survive cancer, most notably on the ballads. Lifeline is an album highlight, backed by a beautiful string arrangement that explodes in the middle 8, and emotional lyrics that have Anastacia pleading, "Somebody tell me have I just wasted a lifetime/Show me some hope/God it's so cold/Throw me a lifeline". This fear of mortality is also apparent on the beautiful Stay where she sings, "I'm not ready to go just yet". The ballads continue with I Don't Want To Be The One & Pendulum. The former is a paint by numbers heartbreak song, with soaring vocals and a memorable chorus - although it disappointingly doesn't 'take off' in the final chorus. The latter starts with great promise of being a beautiful gospel inspired ballad, but unfortunately becomes an unfulfilling and repetitive pop track. This disappointment is continued with Evolution, where the intention is good but the implementation falls short with an uninspiring and repetitive chorus. Thankfully, Apology and Broken Wings pick up the quality of the down tempo tracks, closing the album in emotional fashion. 

Emotion is clear throughout Resurrection. Opener Staring At The Sun is a piano led power ballad with a brilliant hook and epic chorus and could be one of her best songs to date. It showcases her immense vocals and how well they gel with sprock production. Anastacia take note, this is what you're good at darling. Stupid Little Things serves as the lead single, opening with thumping drums and a meandering verse. It's infectious from start to finish and the chorus is, to put it simply, fantastic. Dark White Girl's production is great and her vocals are on point as she sings about going to places she never thought possible in her lowest emotional moments. 

It's nice to have Anastacia back. Whether you like her or not, her talent is apparent both as a singer and a songwriter. Resurrection is a mature, emotional album with a focus on her battle with cancer and the emotional burden that comes with it. I imagine it will serve as an inspiration to her fans that can directly relate to her experiences and songs like Lifeline and Stay sensitively deal with her own fear of losing her life before her time. It's not perfect and there are some weaker moments, but there are enough great songs here to make a listen worthwhile. Resurrection is the album Anastacia needed to remind us of who she is and what she's good at. It's great to have a mainstream pop artist releasing material that actually means something and isn't all about aggressive sexuality.

4/5

Kelis - Food

It seemed Kelis' career as a singer had gone past its use-by date back in 2010. Her last album Flesh Tone, as great a listen as it was, didn't make waves on the charts and when she announced her departure from music to pursue a career as a chef we just thought, 'well that's that then'. Now, 4 years on, the timer has sounded on her musical oven and out of the stur we have Food, a contemporary soul album that reminds you of why you loved Kelis in the first place but also reveals a new found authenticity in her sound. Kelis has never sounded so comfortable and those famous smoky tones shine throughout the album. Food opens with Kelis' son Knight making a cameo and playfully welcoming us with 'Hey guys! You hungry? My mom made food...' 

The album's lead single Jerk Ribs is one of 2014s best songs, backed by an incredible horn arrangement and lead by vocals that soar through to the final chorus. It's the strongest track on Food, the most instantly likeable and the best song to cook to (I've tried and it just works so well). This tempo is continued in the latter stage of the album with Friday Fish Fry, an infectious rhythm and blues number with a rock guitar riff. The only other uptempo track is Cobbler, a song that sees Kelis sing about a new man in her life, comparing being with him him to a holiday. It's unsurprising, given the song titles, that she came up with song concepts whilst cooking dinner and producer Dave Sitek jammed on his lounge piano. 

Little Mix - Salute (Single)

Sugababes 'Freak Like Me' 2

Little Mix unveiled the artwork for their upcoming single Salute last week. It's quite raunchy, for them at least. It's the 3rd single to be lifted from their album of the same name and that album is amazing, fact. Following on from their 'meh' cover of Word Up for charity (got to justify it somehow) last month, they really needed to release something strong to recuperate some credibility. I was quietly hoping for Nothing Feels Like You or Towers, alas what does what I want matter? The title track screams Destiny's Child, from the sirens in the intro to feminist fist pumping chorus about representing all women yada yada.  It's a great intro track to a (surprisingly) superb album but whether it was the best choice for the next single, I'm not so sure. Standing on its own its no Move.

4/5

Katy Perry - Birthday

Every now and then, Katy Perry releases a song and its brilliance is only surpassed by actual, admirable feats of humanity like saving lives etc. Roar and California Gurls are prime examples of said 'brilliance'. Her new single from Prism is Birthday, which follows on from hip-hop number Dark Horse and big ballad Unconditionally. It's a disco pop extravaganza, with cheeky lyrics like "I know you like it sweet/ so you can have your cake/ give you something good to celebrate" on top of an infectious poppy arrangement. It's the 2nd strongest track from Prism and potentially one of Katy's best songs to date. Huge fun.

5/5 

Kelis - Jerk Ribs & Rumble

Kelis is one of the most underrated popstars around. She's moved through from hip-hop to r&b, from pop to dance and electronica. Now she's about to release her 6th studio album FOOD, and it's set to be a substantial helping of old school soul. The two promotional cuts, Jerk Ribs and Rumble are retro flavoured soul records that transport you back to an era where record players were the height of musical technology. 

Jerk Ribs is a wonderful uptempo track, with a soft soul bassline and an exhilarating chorus. Kelis' vocals have never sounded so affective, authentic and distinct. The lyrics are strong and the story is helped by Kelis' flawless delivery. When the muted brass backed chorus kicks in things bubble up to a whole new level of perfection. If this song was edible I'd be salivating by the end of the first chorus. Rumble is mid-tempo piano lead soul and like Jerk Ribs it sends you back in time and suddenly you're in a beautiful piano bar with a gin in one hand, cigarette in the other, foot tapping to the infectious beat. The cracks in Kelis' voice make this whole affair feel like a live performance. If these songs are anything to go by, Food is going to be the highlight of Kelis' career so far and potentially one of 2014's most accomplished albums.

Jerk Ribs - 5/5

Rumble - 4/5

Food is out on 21 April

Iggy Azalea - Fancy (Feat Charli XCX)

Neither of these artists have had the success they deserve, but all that could be about to change with Fancy. A hip-hop pop party anthem with a ratchet beat that serves as an ode to the glamorous lifestyle of the rich and famous. It's packed with sassy lyrics about drinking all your alcohol straight, flying from L.A to Tokyo, and being so swag you couldn't possibly shop in a department store. Basically, she would die before setting foot in Buchanan Galleries. The collaboration works well, the biting rap by Iggy supported by the Charli chants on the chorus and middle section where she sings "Trash the hotel/Let's get drunk on the minibar... Chandelier swinging/We don't give a fuck". It all comes together to form one of 2014's most distinct and entertaining commercial hip-hop moments. 

4/5

Lady Gaga - G.U.Y (Girl Under You)

We never got a visual to support the release of Do What U Want. That was a pretty careless move considering how brilliant the song is, just as careless as the original plan to release Venus with its dodgy pound shop production. ARTPOP was always going to polarise its audience, featuring some brilliant moments that are amongst some truly confusing, ridiculous songs that sound unfinished. Thankfully, Lady Gaga has made a good move at last and decided to release G.U.Y (Girl Under You) as the next single from her oddball collection electronic insanity. 

Produced by Zedd, this is similar to Venus but better, obviously. It starts off with sci-fi synths before erupting into a rough electro riff. The lyrics are a bit mad and the song is packed with entendres, but the chorus is memorable and the "G.U.Y" hook is killer.  It's got a solid middle 8 and Gaga's vocals (although spliced with some vocoder) soar into the stratosphere when she belts out "I don't need to be on top to know I'm wanted/Cos I'm strong enough to know the truth...". It's not original, nor is it as awesome as its predecessor, but it's one of ARTPOP's strongest tracks and when you cast aside a critique of originality, you remember this is simply another good pop song by an often brilliant pop artist.

Note: The music video is fun.

3.5/5

Lana Del Rey - West Coast

It's been two years since Lana (Banana) Del Rey released Born To Die, her 5 million+ selling sophomore album. It was great then and it's even better now. Once you get your head around the cinematic sound of her music you can't help but fall in love with this unique, odd-ball starlet. With her new album Ultraviolence not far away at all and a bunch of teaser tracks being released onto the internet by the lady herself (all of which won't be on the final record) it is fitting that a single be released. All hail West Coast, the song that threatens to burst into reggae at the very start but turns out to be a hypnotic, very Lana type affair, with soft guitar riffs and echoing synths and some staple Lana lyricism about Saigon, icons and being a lush. This song is beautiful.

4.5/5

Paloma Faith - A Perfect Contradiction

Can't Rely On You sounded a lot like Blurred Lines, right? It was a welcome similarity and in some ways an improvement on the misogynistic (yet extremely enjoyable) piece of contemporary r&b from Pharrell and Robin Thicke. Faith's song suffered from the bug of repetition though and at points it didn't feel entirely genuine or as authentically soulful as she may have intended. Her third album A Perfect Contradiction is more upbeat than her past endeavours, but does it show that she's mastering her craft?

It's not only Pharrell she has passing hands over her studio knobs. Faith has also roped in Raphael Saadiq, an incredible soul artist in his own right. Mouth to Mouth is a solid track with a great chorus backed by a brilliant arrangement of soulful harmonies, piano keys and horns. Mr Hudson track Take Me amps up the sass, with Faith demanding her lover to "take me, take me, only you can stimulate me". Discounting the lead single, this is the strongest and most memorable of the uptempo portion of the album. However the spoken lines in the middle are let down by some dodgy lyricism about frequent flyer points. It certainly a track you'd want to dance to in a Jazz/Soul bar though. 

Faith is no stranger to a ballad. They kick off with Only Love Can Hurt Like This, a Diane Warren penned track which serves as single number two. It's a decent piece of balladry, with memorable production and a simple yet effective chorus. There's something lacking in Faith's performance though which results in the high notes in the finale being more grating than emotional. This unpleasantry is repeated on 60s cover The Bigger You Love (The Harder You Fall). The nostalgic Taste My Own Tears contains echoes of classic soul & motown (think The Supremes). It's instantly likeable for this very reason and Faith's vocals are stellar. 

The Saturdays - Greatest Hits?

The Saturdays, a 'girl band' whose future is constantly coming into question. Will they or won't they split? I never thought so until the announcement of their first Greatest Hits LP. A 5 year career now warrants a GH album? Apart from being tres confused by the decision, particularly since they only had one mediocre quality number 1 single, I have a suspicion that the bells of death ringeth on the group's pop future. To commemorate the potential loss of this girl band let's take a look at what, I think, are their best singles in order from best to worst:

All Fired Up
Disco Love
Up
Ego
Notorious
30 Days
My Heart Takes Over
Higher
Work
Not Giving Up
If This Is Love
What About Us?
Gentleman
Just Can't Get Enough

Forever Is Over

Missing You
Issues

Of the 17 singles they've released I don't think there have been any real turds. Maybe Issues, that's a bit pish, but aside from that even the subpar songs are enjoyable. There one and only number 1 thus far, What About Us? is there least impressive song but it's so bloody catchy I couldn't stick it down at the arse end of the list (I just couldn't!).

MKS - Untitled Album Delay

WHERE IS THIS ALBUM?!

Rita Ora - I Will Never Let You Down

You'd be forgiven for forgetting about Rita Ora considering it's been nearly 2 years since she released her debut album Ora. It's not a bad thing though. Her most compared peer, Rihanna, releases a new album every other day so a decent break between collections gives hope that a lot of thought has gone into upcoming album O. Lead single I Will Never Let You Down is a more poppy affair than her past singles, sounding closest to her mega hit How We Do (Party). The thing I like about this song is it's a pop song, pure and simple, and tries to be nothing other than that. Here's the lowdown:

+ It's got a really fun, infectious yet simple chorus.
+ It's quite summery.
+ Vocals are on point.
+ There's a full Moschino ensemble in the video.

- It's not as instantly memorable as her past hits.

4/5

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