More on this - one of the greatest records of all time - when I can get out of my SHOUTING-ABOUT-THE-HOUSE-BECAUSE-IT'S-SO-GOOD phase and speak properly about it.
PS: This time tomorrow that change should be ready. So the GA album review will probably go alongside that. More tomorrow...
Tuesday, October 23, 2007 Lights on, Surprisingly someone home
The long-awaited Britney Spears album Blackout hits Australian stores this Saturday, the 27th of October, and it is well worth the $19.95 - $31.00 you will spend on it (depending on where you shop.) Don't let the packaging put you off. As a matter of fact, It's not as terrible as some would have you believe.
She's gotten a LOT of flack for the albums artwork but, in all honesty, when has she actually delivered the goods in that department? Not a single one of her covers have actually been any good.. in fact, this is probably the best one yet, and that is saying something. Are you telling me people actually think the covers for ...Baby One More Time, Oops!... I Did It Again, Britney or In The Zone are better than this one? I'd urge them all to get themselves to their nearest optometrist ASAP if that's the case.
My plan with this review is to look past the fact that Britney's an absolute troubled hot mess, and focus on the songs. I'd managed to avoid the majority of the leaks from this record, only having previously heard Radar and Heaven On Earth. Resisting the leaks was the best thing I could have done to enjoy this album to the full extent now that it's 'out there.'
It really is Britney Bitch, and opening track/current single Gimme More is still an absolute 4 minute powerhouse. Proof that people were able to look beyond the terrible MTV performance, this song is doing very well pretty much everywhere I look, and that pleases me. My favourite bit of this song? Aside from the explosive last 1 minute and 30 seconds, anytime during the chorus to replace the words "Gimme Moore' with "Demi Moore." Go on... try it.
Piece Of Me is a self-referencing stab at the Hollywood and gossip tabloids. It's all a bit LindsayRumours in more ways than one, but with more of a firm tongue-in-cheek feel rather than Blohan's "FEEL SORRY FOR ME I'M FAMOUS, LAWLZ" approach in her now infamous single. The production is excellent, high-synthed electro meets urban - just the kind of thing Britney SHOULD be doing on a new album. I don't really mind Radar, but there's something off about the vocals through the chorus; it's just too high. Stay away from Hot As Ice though, terrible chorus with a faux-Outkast feel to it. Impressively, those two songs are the only real dud moments on here. Usually, for me anyways, I've found that I am faced with more than half an album of Britney material that is just thoroughly rubbish. Not this time around though...
Break The Ice sees Brit announce "It's been a while, I know I shouldn't have kept you waiting, but I'm here now." Quite. The opening synths remind me of something from old Italo-disco King Fancy's back catalogue. Never a bad thing. The verses and chorus that follow absolutely deliver the goods... This is Britney's Promiscuous. The best song on the album has to be Heaven On Earth though, one of the earlier leaks I'd actually heard before. This is SUCH an adorable/cute electropop song that really needs to be a single. Breathy vocals, corker production, an amazing chorus, it really is near heavenly.
Get Naked (I Got A Plan) sees producer Danja (or Mini-Timbaland) recreate the ultimate in Timbaland homages. It is like putting Maneater, The Way I Are, Oh Timbaland and Wait A Minute into a blender, along with the 20 seconds of goodness to be found on Gwen's otherwise annoying Wind It Up. It's also the song Britney admits to being "crazy" in. Brilliant. Tracks like Freakshow, Toy Soldier (sadly, not a Martika cover) and Perfect Lover carry on this clever, modern urban sound through to the end of Blackout. Yes, so it might all sound like it's Timbaland production, but I still believe the majority of his production (past and present) is beyond excellent. I don't see anything wrong with making a record which sounds like this at all. Timb's sort of redefined the type of Urban a primarily pop artist can record, which I think is a very, very good thing.
Ooh Ooh Baby is an endearing nod to The Turtles' classic So Happy Together, whilst moody-near-ballad Why Should I Be Sad sounds suspiciously like it could be about a certain Mr. Federline, or at least intended to sound like it's about him anyway.
Across the board, this is a quality, quality record which fuses together the key elements of urban, pop, electro and dance music incredibly well. This - as an album - works, which is something I've always felt Britney's never been able to achieve. Great history of singles, yeah, but she has never been an albums artist. But Blackout really has changed all of that.
Saturday, October 20, 2007 Love's An Electric Storm
The new Delta Goodrem album, imaginatively titled Delta, is as marvelous as I had hoped it would be.
Nothing excites me more than hearing an act I admire and enjoy listening to grow as an artist, reaching new heights as every record is released. Three albums in, Delta continues to impress, and even wow me.
Next single and album opener Believe Again is an epic way to kick things off. Delta herself has said the song was heavily inspired by Madonna's Frozen - one of her favourite songs of all time from one of her favourite artists of all time. I'll come back to Madonna a bit later on... Believe Again actually starts off with Delt's sounding a lot like Celine Dion; her pronunciation of words and vocal whisps in the first minute are strikingly similar in fact. As the song builds, slowly making its way to the first chorus, it suddenly all rips into an eruption of piano and violin strings. The chorus and verses that follow are magical, and the middle 8 is revolutionary. One of the best songs of her career, up there with the awe-inspiring Electric Storm from 2004's Mistaken Identity album.
Current single In This Life follows, still managing to strike a chord with me. When I first heard this single, I was not convinced at all and was worried as to where the new material would take Goodrem. I think about 8 listens of the single soon changed my mind, and it is now one of my favourite songs of the year.
Mistaken Identity offcut Possessionless finally sees the light of day on this new album, a track which Delta told the Herald Sun Newspaper she had written whilst undergoing chemotherapy. The track is incredibly moving, with an infectious chorus; it's easy to see why Delta wouldn't let this song go. More depression hits in the form of God Laughs, a song which - in great detail - sees Delta tell the story of her parents divorce. Whilst Pink's Family Portrait documented the feelings a child may endure amidst a parental divorce, Goodrem's God Laughs is an anthem for the adult having to go through the ordeal. "We're all walking on quicksand/and when we think we understand, god laughs."
Delta's most UK-sounding pop moment comes in the force of the FIERCE You Will Only Break My Heart. FIERCE vocals, FIERCE chorus, FIERCE verses - third single choice thank you! Ace music journalist Cameron Adams wrote in the Herald Sun that he thought it was "reggae beats over Sugababes-style pop." On the money with that comment Mr. Adams.
There are two tracks on Delta which the singer did not have a hand in co-writing, The Guardian and Woman. Whilst they are both absolutely brilliant, you can almost tell just by listening that these aren't Delta originals. The Guardian tries to reach the heights of Goodrem's classic Not Me, Not I, but doesn't quite make it. There is a phenomenal key change though which still makes this a spellbinding song. Woman's absolutely great, but I wouldn't have been upset if it had been used as a b-side instead or as an iTunes bonus track. Especially seeing as the actual iTunes bonus track for this album is the second best song out of this new batch. I'll come back to that (and the Madonna thing) later on though.
Bare Hands is the closest you'll get to Delta doing electropop. At least on this record. This subtle, techno-ballad is also another throwback to Madonna's Frozen and, in places, The Power Of Goodbye. Just as you think things couldn't get any better, the middle 8 storms in and sends the song to new levels. Complete brilliance. I Can't Break It To My Heart, another ballad, sounds like the kind of thing Reba might throw her vocals into; a lush blend of big-chorus pop meshed with a tinge of country. Angels In The Room, another strong, powerful ballad, is a musical thank you to Delta's fans, and is another fine moment.
Channeling Human League in places, Brave Face is a stunning tale of the love shared between Delt's and her main man, Brian McFadden, who is quite a dish these days indeed.One Day is a staggering mid-tempo piece in which Goodrem announces "One day I will learn to like myself/one day I'll make the perfect wife, and I'll change my name just for him."
Frustratingly, iTunes have an exclusive track available for download as part of the new Delta album that is not on the physical CD release. The track is Right Here In My Heart, and is the second best song on here. What was she THINKING not adding this to the proper album release? This is an absolute MONSTER of a track. An uplifting and intoxicating chorus, fused with chemical verses - I cannot believe such beauty has been relegated to being an iTunes bonus download. People buying the physical release will have no idea what they're missing! I'm buying a physical copy (I collect Delta discs,) but have happily forked out the $1.69 for this masterpiece. Australian residents, you should do the same. International folk - search through those illegal places and you shall find.
Finally, I'll close by going back to the Delta/Madonna reference. I like the fact that a singer with a voice as big as Delta's will cite Madonna as a favourite artist. It's rare - the girls in Australia with big voices (read that as "the girls on Australian Idol over the years with big voices") always claim they love the Whitney's, the Mariah's, the Christina's... These girls (the Australian Idol types, not the big-voiced divas) never seem to find it 'cool' to admire Madonna, maybe because her voice is not exactly strong in comparison to the aforementioned ladies, or maybe because of Madge's overt sexuality. Not surprisingly, most of these girls - as popstars - are as fucking exciting as a crusty plank of wood. So it's definitely nice - for me anyway - to see Delta can appreciate that there's more to being a popstar than just having a strong voice. Being a Madonna fan myself, I guess if she can see and commend the path Madonna has taken musically, it says a lot to me about the kind of artist Goodrem is. And that's why I believe this woman will continue to have a prosperous future in music. This album is a fine testament to that; here's a strong, growing young woman with a multitude of great songs and three powerful albums, with a keen eye (and ear) for really good, classy pop music. Her reverent love for the genre shows in her own music, and I can only admire the woman more for that.
I've always been under the impression that not many of my readers actually like Rogue Traders (commentsville is usually a dead-town when they're mentioned,) which is disappointing, yes, but is not going to stop me from posting about them at all...
Next Tuesday marks the two year anniversary of the Rogue's second album release, Here Come The Drums. It's also two years since my review of that very album appeared on IAR. You can read that here (opinion on the songs I didn't think much of back then has changed, by the way.)
So now it's time for album number 3. Here Come The Drums was ridiculously huge here in Australia, hanging around the Top 20 in the albums chart for well over a full year, so I'm quite keen to see how this more mature-in-sounding album fares with the fanbase.
But, even more importantly, what do *I* think of it? First of all, no one can accuse them of playing it safe. No samples this time around, goddess Natalie Bassingthwaighte has had her hand at co-writing five of the twelve tracks, and the record definitely boasts a more mature, refined direction in sound.
CALLING ALL LOVERS A solid start to the album; big on broken beats, but definitely not single-worthy material. 7/10
DON'T YOU WANNA FEEL First single to be lifted off this album, not surprisingly one of the best on here. Channeling Transvision Vamp with a dash of Chrissie Amphlett, this is one of the best Oz singles 2007 has delivered. 10/10
I NEVER LIKED YOU Bitchy Natalie! The verses bare a slight resemblance in sound to Split Enz's I Got You - the whole package is very a bright homage to new-wave, with a killer chorus ("Hey! Surprise! I never liked you, even when I tried to... I never liked you and I won't pretend to. Can't you see the curtains falling, uh-oh! Is there a reason you're still hanging around?...") This is the kind of song I could imagine Nicola Roberts singing. 10/10
CANDY COLOURED LIGHTS Track's that totally hint at you they are about getting on it in a nightclub are fine by me. This is a hypnotic, synth-heavy track with a chorus whipped up in heaven. Gorgeous. 10/10
SPEAK AND DESTROY It is like listening to Veruca Salt... remember those bitches?! It even sounds like Natalie says "seether" at one point. This is a classy stab at that very 90's rock sound, meshing it together with the new-wave feel this album seems to be generating quite well. 8/10
CHILDLIKE Moody ballad time! Usually I'm left unimpressed by the 'ballad section' of an album, but this is actually pretty good, once again keeping that heavy guitar and new-wave thing going. 7/10
ON YOUR WAY TO THE DISCO James Ash's "Oh yeah!" vocals through the chorus are DYNAMITE and totally make this song. 9.5/10
8TH WONDER OF THE WORLD It sounds a bit like We're Coming Home, doesn't it? Not as good though. This is the only track on Better In The Dark that hasn't really gelled with me at all... 5/10
BETTER IN THE DARK One thing I love most about Rogue Traders tracks is - and this includes their first, Natalie-less album - the lyrics are always clever. "I don't know your name. But I'll kiss you just the same. Holding hands, that's a start. Cos you'd look better in the dark." This is an attitude-filled rock throwback whose lyric content sums up what most of us have thought about many, many people we've seen in a nightclub. 9.5/10
WHAT YOU'RE ON This is what I like to call the record's best moment. What You're On is such a gorgeous, luscious pop song with sublime, dynamic lyrics. ...On is this album's In Love Again. Never a bad thing. 10/10
THROW YOUR ARMS AROUND ME SUMMER SINGLE ALERT! SUMMER SINGLE ALERT! Christ on a treadmill, everything about this song screams 'second single'. Rip-snorting guitar riff (which sounds a tiny, tiny bit like Mel & Kim's Respectable,) strong vocals through the verses, and an absolute rocket-fueled chorus - this is bonza stuff people. The clever thing to do would be to release this as the next single, thus making it a prominent part of the soundtrack to everyone's upcoming Australian Summer... 10/10
THE PRICE WE PAY It sounds like Take That's Wooden Boat!! Cute ballad with sweet vocals, returning things to that Veruca Salt sound I mentioned earlier. The unexpected appearance of an army of violins in the last 2 minutes is a very, very welcomed surprise. 9/10
This is their most cohesive album to date. Definitely a strong progression from Here Come The Drums. In fact, this album works and flows better as a whole than ...Drums did. I always thought the order of Drums was a bit out of whack in places but this - this has been set out perfectly.
Definitely a contender for Album of the Year. As someone who is a fan of the band, a lover of Natalie, and a long-time follower of James Ash since his career in radio at Hitz FM, this record makes me incredibly proud.
Thursday, October 04, 2007 I Want To Be With The Macho Man
This is the front cover for the brand new Muscles album, Guns Babes Lemonade.
I listened to this for the first time on Saturday afternoon and was so overwhelmed with emotion in doing so, it's taken me five days to write about it. I smiled from ear to ear for the duration of all 11 numbers on this disc. The songs are FUN (I'll use this word a bit over the next few paragraphs,) but, more importantly, the person who made this album had more fun than I ever will listening to it; and it really shows. That's what really got me, I don't think I've ever heard anyone having THIS much fun on an album. That's just pure bliss for me.
For those of you in the dark as to who Muscles is, his real name is Chris Copulos, he's a young Aussie boy, and he makes incredibly fun electronic music. FYI: He's also really, really cute/hot in that naive country boy kind of way.
But this album, which was released this week (and was the first record I'd gone out and bought on the day of release without actually hearing it online as a leak first - I think it's actually been a couple of years since that's happened to be honest with you,) is a fiery ball of good times and fun, fun, fun.
I must warn you; this is not going to be everyone's cup of tea. Muscles' vocals aren't amazing, but they don't need to be; it's part of the charm and beauty of all the songs. It gets a bit shouty but, again, it's all in such good fun that it doesn't bother me. The best way to describe his voice is to say he sounds quite like Gavin Rossdale. A LOT, actually. The voice is an acquired taste, and while I will completely understand where people are coming from when they tell me they cannot stand it, I won't agree with them. This peculiar voice, atop of quirky, electro beats... I say, I reckon you've got a winning debut album.
The tracks on here simply deal with things Copulos is obsessed with in life; ice cream, drinking lemonade in hammocks (it's my new favourite thing to say; "Lemonade in hammocks!",) eating marshmallows, being with friends, partying, being young, that sort of thing.
Essentially, quite a few of these songs discuss being apart of the dance scene, in particular Sweaty, in which Muscles replicates a conversation held between two pill-popping ravers. "I'm getting tired and I'm sweaty, but I still wanna touch ya if you let me. Because we hugged a few time and it was special... My hand slipped into your hand, and it was awesome, and you were special." Mashing genius lyrics up with loud, happy synths; this is the kind of thing that makes my day.
The whole album is a goldmine of electronica. One Inch Badge Pin contains yet another legendary, local-industry related line which tickled me pink. "Last night I met a girl, who says she has connections, in the Melbourne Independent Music Community... who says she has connections." Maybe this will go over non-Aussie's heads, but as someone who sees what goes on and how this "community" operates (and how many people claim to have these so-called connections,) it's an absolute gas. Maybe that's why the rave references sit well with me too; I spent a good portion of my teen years through to my early 20's working as a door bitch and, later, in publicity for several 'rave' parties and nightspots in Melbourne. So I can relate to the story told in Sweaty because I've seen that very story unfold around me countless amounts of times. That cliche of people loving each other stupid when they've induced MDMA, it's an ongoing joke amongst ex-ravers and people who've worked in the industry, which may explain why that song especially struck such a chord with me.
Both The Lake and Lauren From Glebe incorporate proper trance music melodies, something that is normally looked down upon by electro enthusiasts. But it's just so pretty...
Without sounding like a juiced up raver (which - just for the record - I am not, and have not been for quite a few years,) this record really is the pants. It's totally life-affirming stuff that has reignited my passion for Australian dance music.
In case you've been living in a coma, you'll have noticed we are 23 days into the month of June. June is the 6th month of the year, every year. In 2007, there are 12 whole months to make the year. In fact, every year has 12 months in it.
Isn't this all just fascinating?
With it being June, it is official that we have reached (and completely passed, mind) the mid-year hump.
So, naturally, it's time to glance over the best music releases so far of 2007. Over the next few days I'll cover my favourite single releases AND also my favourite DANCE albums (which is where you'll find Justice, Simian MobileDisco and the delectable Calvin Harris.) But what POP albums have absolutely knocked the pants off Adem over the last 6 months? Well, I'm very glad you asked...
01. ARCTIC MONKEYS Favourite Worst Nightmare I've had such a powerful love affair with the new Sophie Ellis-Bextor album, yet I still end up coming back to this as my favourite so far of 2007. "Do Me A Favour" and "505" still manage to send an absolute violent ripple of goosebumps through my body, with the remains of the album delivering similar sensations. I still think Alex Turner is one of the greatest lyricists of the last 20 years, I still think this album is an incredible achievement, and If you didn't read my slightly lengthy review of this record from April, feel free to give it a squiz and read what else I still think about this album.
02. SOPHIE ELLIS-BEXTOR Trip The Light Fantastic As I said earlier, SUCH a love affair with this album. There was a period of time last week where I was falling asleep every night with "Can't Have It All" playing on a continuous loop in my head. I'm completely convinced now that this UK bonus track is probably one of Soph's greatest accomplishments. I have this spectacular video clip for it all set up in my head; Sophie, trapped in giant maze made solely of not glass, but crystal. Only the best for our Soph. There's also the video clip idea for "China Heart" which involves manga-like real-action filming, and a room full of china plates, shaped as hearts, breaking, with the pieces revolving around Sophie's body as she sings the "aaaaaaaaah, ooo-aaahh" before the final chorus. This is the kind of shit that goes through my head when I'm at the gym. My review from May.
03. PATRICK WOLF The Magic Position It is all Scott, 2 Be Certain's fault that I love me some Wolf. Late 2005, Scott casually mentioned I should give "Wind In The Wires" a listen to and highly recommended its brilliance. I did, and fell completely head over heals. "The Magic Position" is probably the poppiest record we're going to get from Patrick, and what a fine pop record it is. The title track makes you want to fall in love, "Bluebells" is just epic, and "Get Lost" reminds so much of The Cure. There's also the inclusion of Marianne Faithfull on the gorgeous "Magpie," which sort of seals the deal for me, but really, it's all about "Augustine," Patrick's greatest song to date.
04. RIHANNA Good Girl Gone Bad So who was expecting this to be great? The very first time I saw the video clip for last years "S.O.S" I thought to myself "sheesh, this Rihanna bird looks serious about giving the whole being a proper popstar thing a good stab." Then she released that hideous album, that disgusting "ballad" about mouhr-dehr-uhr's, and I had all but assumed she would only ever release the one good single per album. So what happens when her follow up album is full of potential singles? There is not a single track on "...Gone Bad" I don't like. Obvious winners are "Don't Stop The Music," "Breakin' Dishes," "Push Up On Me" and first single "Umbrella." How about the not-so obvious, but still very much so, winners? "Question Existing" is just so powerful, (that talky-bit is off it's trolley! Give this woman more of these, pronto!) and the purchase of furniture with other people's money has never sounded as fun as it does in "Lemme Get That."
05. SIOBHAN DONAGHY Ghosts It's Kate Bush for a whole new generation. This is an important thing to be bringing to a new generation, though sadly it seems no one's all that keen on paying attention to it. Siobhan's follow up to "Revolution In Me" is a REVOLUTIONARY (boom! tish.) record of solid gold tracks. "Coming Up For Air" is so fucking ace that there are no words to really explain its beauty, and "Medevac" - well - you've all heard it by now and would know EXACTLY where I'm coming from when I say it's what an orgasm would sound like were it a song (unlike Lil Louis' "French Kiss," which is actually a song ABOUT orgasms). It is not too late to get behind Siobhan people. The album is released in the UK on Monday. Your general existence will definitely mirror that of a dull and boring housewife if you do not bring this masterpiece into your life.
06. LA ROCCA The Truth I really couldn't give a flying fuck that this was actually released in 2006. My theory is, if it's no more than 12 months old at the beginning of 2007, it is more than eligible thank you. I do warn you, the album is quite harmonica happy. But I love me some harmonica action and - for some unknown reason - it usually tends to set off the waterworks in me. If you like that cruisey, slightly whiny, guitar-meets-synth-pop-but-not sound that may find itself playing during key scenes of One Tree Hill, you'll love this incredibly well produced alternative-pop album. "Sketches (20 Something Life)" is a very cute lite-alt-pop delight, "Sing Song Sung" is, in fact, very first-album Keane, combining it with some seriously fun synth action. "Non Believer" - the very song that got me interested in this album - is still the most beautiful moment on here though. The piano which comes in at around 3:18 and goes through to about the 4:00 mark? That reminds me of how good it is to have music in my life every single time I hear it. Follow it with the last 40 seconds of the track, and you have near perfection through song. Watch a YouTube video of the track here... but be warned, it is littered with scenes from One Tree Hill as it's one of those fan-made 'montages.' It should be noted that for about 2 months this year, I wanted to actually BE Peyton Sawyerfrom OTH. She's so cool.
07. SILVERCHAIR Young Modern Daniel Johns! Chris Joannou! The Other One! Five years since the Chair's last studio album, and "Young Modern" manages to well and truly deliver the idea it's been well worth the wait. "Young Modern Station" is an exciting Devo-ish explosion, new single "Reflections Of A Sound" is probably the most gorgeous song 2007 has delivered so far, and "Strange Behaviour" - bookended by the Parts 1 & 2 of "Those Thieving Birds" - is very theatrical, epic, and camper than a row of tents. But the most glorious moment on here is "Waiting All Day," a very luscious piece of pure guitar pop... in fact, it's probably the poppiest Johns moment on record, though don't let that fool you; it's not exactly the happiest song, even if the cheeky honky-tonk piano tries telling you otherwise. This is exactly what Silverchair should sound like in 2007, regardless of what their upset, loser, stuck-in-the-mid-90's "fans" have to say on the matter.
08. KLAXONS Myths Of The Near Future Modular have done it again. This album is so ridiculously schizophrenic it's hard not to find something on this to like. I just so happen to be one of the people who seem to like everything on here. "Isle Of Her" - my absolute favourite on this album - is a brilliant exercise in the downright bizarre, "As Above, So Below" throws around gorgeous melodies with strong guitar, and "Magick" is just so beyond insane that there's not much else to do but love it. Being a dance music enthusiast, I should hate their indie cover of 1990's rave classic, Grace's "It's Not Over Yet." I really don't though, it's such a wonderful rendition that it manages to stand tall on its own. One to watch folks, I have a feeling the Klaxons only going to get better.
09. TRACEY THORN Out Of The Woods That voice... wow. From start to finish, "Out Of The Woods" is an intense, exciting and thrilling journey through song. "Here It Comes Again," the most fragile piece on "Woods," is a perfect opener. "A-Z" borrows 80's synth and combines it with a very, VERY deep bassline. In fact, this whole album is very Nile Rogers, which is most certainly not a bad thing at all. The dance-nut in me absolutely WORSHIPS the speakers "Grand Canyon" plays from, the most club-friendly melody, and instantly uplifting moment Tracey's delivered vocally since "Future Of The Future."
10. TORI AMOS American Doll Posse This has gotten mixed reviews since its release. In my opinion, it's the stronger of the Tori albums since "To Venus & Back." Definitely no "From The Choirgirl Hotel," but that doesn't stop it from being a little on the breathtaking side. "Bouncing Off Clouds" is a serious contender for song of the year, with its totally spellbinding nature. I reviewed this back in April, and the only thing that's really changed in my thoughts toward this record is that I love it more now.
11 - 20...
11. HILARY DUFF Diginity BEST BITS: "Dignity" and "Danger." IN AWORD: Popsicle.
12. MAROON 5 It Won't Be Soon Before Too Long BEST BITS: "Makes Me Wonder," "A Little Of Your Time" and "Can't Stop." IN A WORD: Notaboutjane.
13. MARGARET BERGER Pretty Scary Silver Fairy BEST BITS: "Samantha," "Get Physical" and "Will You Remember Me Tomorrow?IN A WORD: Sodapop.
14. RUFUS WAINWRIGHT Release The Stars BEST BITS: "Between My Legs" and "Tiergarten." IN A WORD: Refined.
15. DRAGONETTE Galore BEST BITS: "True Believer," "Take It Like A Man" and "Black Limousine." IN A WORD: Electric.
16. ERASURE Light At The End Of The World BEST BITS: "Sunday Girl" and "Fly Away." IN A WORD: Fabulous.
17. LONG BLONDES Someone To Drive You Home BEST BITS: "Giddy Stratospheres" and "Weekend Without Makeup." IN A WORD: Blondie.
18. MIKA Life In Cartoon Motion BEST BITS: "Relax (Take It Easy)" and "Billy Brown." IN A WORD: Sugary.
19. BJORK Volta BEST BITS: "Declare Independence" and "Innocence." IN A WORD: Spikey.
20. SNEAKY SOUND SYSTEM Sneaky Sound System BEST BITS: "I Love It" and "U.F.O." IN A WORD: Glamorous.
This list is going to most definitely change over the next 6 months, especially with possible new releases from Courtney Love, Madonna, Girls Aloud, Britney and Kylie all tipped to be heading our way before the year's up. Some of the albums above were actually released in 2006 (Sneaky Sound System, Margaret Berger, Long Blondes), but never really made an impact on me until now, which is why they're included, just in case you were wondering.
OVER THE NEXT FEW DAYS: The so-far-results for my Singles and Dance Albums of 2007.
Sophie Ellis-Bextor's 2001 debut album Read My Lips was probably my most played record of that year. Back then I could not fault it and - still to this day - think it is one of the greater moments of pop's history in the 2000's. But Trip The Light Fantastic takes the wonder, the beauty and the dazzle splattered all over her first release to a whole new level.
Earlier in the year a 5 track album sampler began floating around the interweb. The five songs, although completely brilliant, were not a clear indication of how spectacular the album would turn out. Sophie's magnum opus had to be heard in full to completely be appreciated. Whilst I immensely enjoyed, for example, "New York City Lights", "Today The Sun's On Us" and "Me & My Imagination" - three of the five album sampler tracks - they never really took me by the ears and shook the life out of me. Until I pieced the album together as it was meant to be heard. Instantly the songs were given a new lease of life. "Me & My Imagination" - the most Spiller-like song on Light... is a gorgeous piece of dance floor totty*, with an incredibly radio friendly chorus that invites you into its warmth. "New York City Lights" is a frantic number with chunks of inspiration drawn from Blondie's "Atomic" and Madonna's "Everybody". That's what I can hear anyway.
"If I Can't Dance" won me over within seconds. The pronunciation of "dance" (she's soooo British, innit?), the shimmy-yourself-stupid chorus (watch Adem as he drives to work every morning, thrusting his shoulders from side to side singing at the top of his lungs), and the crisp electronic production... all a solid song it makes. "China Heart" - what I would call an outright fucking stomper - has the most gorgeously strange instrumentation through it. It's the type of song you could drive a car to incredibly fast at night... it's the hustle and bustle of an evening in New York, Tokyo and Melbourne all rolled into 3 minutes and 44 seconds.
"If You Go" is such a special moment, one which would sit quite comfortably alongside the gorgeous "Is It Any Wonder"from the first record. This one's a Xenomania production, and - rightfully so - tipped to be the third single. The middle eight is to die for, with Soph's voice reaching such gorgeous heights it's impossible not to shiver with a mass of goosebumps. "Only One" reminds me of every movie Rob Lowe starred in during the 80's (picture this: Lowe with his top off, sweating profusely as he plays on his Saxophone. A man who played the sax was SOOO the 'sexy drummer' of your typical 1980's fillum). There's also the "I don't know why you cry/you must have a wind-swept eye" line which made me laugh till I choked the first time I heard it. Totally bewildering in a completely ace way.
Let's talk about why "Love Is Here" could very well be hailed as Soph's most gorgeous musical piece to date. Even the guitar solo is as cute as a button. As a very big fan of a key change towards the end of a song, you can only imagine my surprise when I was struck over the head with not just the one, but two of them in the last 45 seconds of this. When I hear that, an intense wave of euphoria takes over my body, the hairs on my body stand on end and my heart beats a little bit faster. This is how music should make you feel all the time.
"What Have We Started" is a dramatic but luscious love song which insists on making you feel exactly what she's singing about. "Can't Have It All", very loungey and makes me think of the rain, with a final 10 seconds which is all a bit sublime and Pet Shop Boys-esque. "Supersonic" - her collaboration with the musical legend that gave us "Rock Lobster"/pop nutbag/B52 Fred Schneider - is so, so very 90's. Fred's little talky-bit half way through is a completely unexpected, but lovely, surprise.
There are songs I haven't mentioned, which doesn't mean I love them any less. There isn't a single sliver of music on this album which hasn't tickled me in the right way. I remember the very first time I listened to Madge's Confessions On A Dance Floor and being totally dazzled by the production, by how instant it was. And even THAT had a couple of dud moments, whereas Light... completely delivers as a consistent and instant chunk of pop classics. As each song progresses you're left wanting more, hoping it doesn't end and praying there isn't an off-center moment creeping around the corner. I listen to this album and am happy to be alive. It lifts my spirits and it makes me sing. I want to dance at some parts, and at others I want to cry. But it's mainly dancing. It's so rapturous and intensely clever that you feel yourself spun into a hyperbole of emotion with each songs passing.
A note to pop acts releasing albums in 2007: This is going to be a VERY hard record to top. Madge, Kylie, Girls Aloud, The 'Babes - you allbetter be lifting your game. There are now absolutely no excuses for you bitches not to be bringing it. Britney, XXX-Tina take note: this is the kind of material a proper popstar puts on an album. That is all.
*Spot the Ellis-Bextor reference and win a prize!!
"Favourite Worst Nightmare" really is - for me - the first great album of 2007. There have been some truly outstanding albums this year so far (Patrick Wolf, Tracey Thorn, Bjork, Tori Amos, just to name a couple), but none have ignited such fireballs of passion as this. I wasn't at all fussed by the Arctic Monkeys' first album, "Whatever People Say I Am, That's What I'm Not", so I really wasn't expecting to take any sort of shining to the follow up, even though I was slightly impressed with the "Who The Fuck Are Arctic Monkeys" E.P. from last year. But upon hearing the first single, "Brianstorm", lifted from this new album, I immediately began taking an interest. I've always thought Alex Turner and Jamie Cook (pictured, left) from the band were incredibly good looking (it's my thing alright, those kind of bratty Britty-boys, leave me alone), but the sounds just hadn't been good enough in the past for me to pay any attention toward their musical instruments rather than just their faces. Then this bloody album came along and turned everything upside down.
"Brianstorm" is such a menacing rock affair that it's hard NOT to enjoy it. Turner's voice sounds so deliciously evil throughout, and there's something really exciting about the "t-shirt and tie combination" lyric, which probably has something to do with me SHOUTING IT in the car every morning on my way to work. And THAT breakdown - something I soon figured out was a Monkey trademark - totally overwhelming. "Teddy Picker", which I felt has a certain rockabilly element to it, talks about someone "gagging for it"... that was my most used phrase of 2005. I totally love the fact it's made a revival of sorts in music. "D Is For Dangerous" is just fucking great, but not as spectacular as "Balaclava", an asbolute stand-out moment on this record. A hyperactive, balls out, high-tension, pure rock song that sounds almost as if it was recorded with its live performance in mind. Total Arena material.
Is "Fluorescent Adolescent" going to be a single? It should be, another absolute masterpiece, and Turner's little-boy-lost approach to the lyrics ALMOST makes this his cutest moment on record, a title that - however - belongs to "The Bad Thing", a slightly more uptempo tune which takes you to new levels of adoration with the lyric "really love is fiiiiiiine!". "Only One Who Knows" is a drumless strummy-guitar ballad of sorts that accentuates a slow cracking in Alex's voice... absolutely gorgeous. "Do Me A Favour" is easily the first of my three stellar favourite moments on here though. It's the bearer of one MASSIVE build up that just adds to itself with each verse. Totally insane and probably the most 'pop' moment on here. Apparently this is about Turner's break up with Victoria McDowell... "Do me a favour/and break my nose/...and stop asking questions/...she walked away/her eyes were all red/you could see that we'd cried". Just lovely lyrics, but not as good as the "perhaps fuck off might be too kind" line though. "This House Is A Circus" is the second acer than ace track on here, a real messy, fun and over-excited pop/rock assault that does a very good job of summing up WHY these guys are so bloody good in just a mere 3 minutes and 14 seconds. "Old Yellow Bricks" has this totally amazing violin-bit through it which blends incredibly well with the harsh guitars and slight shouting, and "If You Were There, Beware" is so ridiculously offtap it's hard not to completely appreciate it. The albums closer, "505", is the third of the three mind-blowing ditties on this long player. Starting itself off at a splendidly slow rate, it's the massive build-up that takes this up about ten notches from being a mellow love song into a complete state of bonkers Indie-pop heaven. Beautiful beyond belief.
No one is more surprised at this recent Monkey-turn-of-events to my ears than I. But I am so impressed with this album that I've started giving their first one another chance... I'm pleased to say it's REALLY growing on me. I know a lot of the readers wont agree with my new found love of the boys, but I'm sure everyone can relate to the absolute joy you feel when you experience a really rewarding surprise in music... it's all been such a great thing, discovering their new choons and rediscovering their older stuff.
Cannot wait to see them play at Splendour In The Grass over the first weekend in August down Byron Bay way, either... Yep, my good friends Ben, Verity & I will be forking out hundreds of dollars to not only secure tickets for the festival, but pay for accomodation AND get flights up there as well, and the main incentive for me has been to see the Monkeys perform. It's going to be one expensive music festival but by GOD have you seen the line up?! Alongside the Monkeys, Hot Chip, Klaxons, Kaiser Chiefs, Bloc Party, Lily Allen, Sarah Blasko, The Shins, Josh Pyke... You should come along! More details here.
BONUS YOUTUBE VIDEO: One of the MANY reasons I love Alex Turner... He's just so adorable... "Sarah & Nicola, Girls Aloud!"
Meet Isabel, Clyde, Pip, Santa and Tori, the five women with something to say on this new Tori Amos album, American Doll Posse. Each five of these women take turns in presenting the vocals on various moments through out Posse, even though these five women are actually all Tori Amos. It's just her playing assorted characters rather than duetting with a bunch of unknowns. Isabel takes photos for a living and is quite political, Clyde is coming to terms with being let down on an alarmingly consistent basis, Pip is a bit like Xena: Warrior Princess, Santa has nothing to do with Christmas but plenty to do with sexuality, and as for Tori... well, what can be said about a woman sharing her albums release with her multiple personalities? It's just all so delightfully bonkers...
The incredibly satisfying thing about this record is that it's just such a vast improvement on the sombre 2005 release of The Beekeeper, which left a slightly unfavourable taste in my mouth. It wasn't that I didn't like The Beekeper, but - much the same with Bjork's last one, Medulla - I just felt it could have been much better. And, unlike with The Beekeeper, it doesn't take too long for things to gain excitement. "Bouncing Off The Clouds" is quite easily the records absolute shining glory moment, with a gorgeous melody and poignant lyrics coming from the emotionally confused character of Clyde. "Teenage Hustling" throws a few loud guitars into the mix, whilst "Secret Spell" introduces itself in the form of a Dixie Chicks song. "Beauty of Speed" could have sat perfectly on To Venus And Back, "You Can Bring Your Dog" absolutely sweetens your ears with its strikingly Vintage-Tori feel, and "Roosterspur Bridge" - another Clyde track - is Balladry Tori in classic form. As you'd expect, high on piano's, a surprising bevvy of very big choruses and, of course, schizophrenic behaviour by the truck-load. There are a few of those interludey things as well, and instead of serving the purpose of exercising the action of placing your index-finger-to-the-skip-button, they're actually put together nicely enough to sit through each of the four 45 to 90 second bursts. In particular "Fat Slut" and "Programmable Soda" - the "Mr Zebra" of 2007 perhaps?
This is a good record from someone who's last effort just wasn't felt much by me at all. There are some duds (about 5 or 6), but seeing as it carries 23 songs, that still leaves about 17 delights... 17 more than can be found on the Christina Aguilera album of a similar mountain-top length.
I just hope the whole 'conceptual art' thing doesn't cause harm to the success and general outcome of this project. Quite a few mouths have labeled it all a bit self indulgent, a comment so flippantly thrown around by people who've not even heard the album yet to make a proper final judgment. I don't think the idea behind this album is terrible at all; if actors like Eddie Murphy can get away with playing 73 different characters in every single movie they make, why can't a singer/songwriter do the same for an album? Essentially, this is the combination of an actor expressing themselves through a series of songs. There are interesting political, love, loss and life points raised through out American Doll Posse, and whether it be Clyde, Tori or the other three crooning about it, it's all actually INTERESTING to listen to. Clearly this is no From The Choirgirl Hotel or To Venus & Back, but it is most definitely a step back for Amos in the right direction after a wrong turn.
Thursday, April 05, 2007 The Immaculate Collection
So amidst the drama of having lost my beloved dog, getting a wisdom tooth pulled out and quite obviously not adjusting too well with the idea of working a relatively full time job AND studying University at the same time, I've been listening to a lot of sensational music. About 2 months back I was exposed to Simon Curtis (pictured, right) via Paul at The Zapping. From what I'd heard on his MySpace account, it was all very fabulous pop and I was quite keen on hearing more. Low and behold, several weeks ago the lovely Simon sent me his entire new album which is very bloody good. Unfortunately, iTunes decided to play funny-buggers on me last week and deleted about 30 albums I had stored on my computer, Simon's being one of them. It's really okay because most of these albums I have the originals for anyway, but this one was specifically sent to me... SIMON COULD YOU PLEASE RESEND THAT LINK TO ME AGAIN WHEN YOU GET THE CHANCE? Anyway, if you're keen on checking out more, head on over to his MySpazz page and download the album, Alter Boy, megamix teaser. You should also take note that Simon is VERY EASY ON THE EYES and has a nice hip-bone.
Siobhan Donaghy's new album "Ghosts" is spellbinding. My best friend Ben & I were discussing it last week and had concluded that, amongst it being quite Kate Bush-esque, it was also incredibly Witchy. In fact, Siobhan may have very well spawned her own style of pop, Witchy-Pop, the genre she is labelled as on both Ben & I's iTunes. "Medevac" is currently my favourite song of 2007, "Coming Up For Air" sounds like the kind of beautiful pop song that the UK *SHOULD* be sending to Eurovision (and would probably win with), rather than the shit they've peddled through for the last 3 years. The album as a whole is pretty amazing, just as her first "Revolution In Me" was. But there is something just a little more special about this one. Definitely a Top 5 contender for Album of '07.
Everything bar maybe the one song from the latest Silverchair album "Young Modern" is - as expected - quite outstanding. Daniel Johns = still a musical genius. Chris Joannou = still INCREDIBLY sexy. THANK GOD for that then. This is easily next Monday's number #1 album in this country, without a doubt.
I was INCREDIBLY unpopular last week when I brought up the new Joss Stone album. But you've GOT TO ADMIT that track #8 - "Arms Of My Baby" - is POSITIVELY ELECTRIFYING. Very good job Joss, you obviously 'fucked well' for that track.
Oh, just quickly, whatever anyone tries telling you, the new Timbaland album is NOT good. It's actually a complete waste of everyone's time and a big wallop of old rubbish. Sadly, the terror also includes the song he's done with M.I.A. which takes nausea brought on by music to a whole new level. Although "The Way I Are" is probably the records only exciting moment.
I'm still playing the absolute hell out of Patrick Wolf, Tracey Thorne, Amy Winehouse, and Madonna's "Confessions Tour". Am starting to cool on the new Jay Jay Johansonalbum though, which has slowly begun to grate on my last nerve. Comparing to the last record he brought out, it really isn't that good. I know, I claimed it as one of the years best, but after excessive listens I found myself distancing away from it with each listen, rather than finding more to love about it. I don't think it's terrible by all means, but I was definitely a bit premature on heralding it as one of his best efforts. Oddly enough, Brian McFadden has an ACE NEW SONG on his MySpazz profile called "Alice In Wonderland". Just please go and listen to it, this absolutely blew me away and very much needs to be a single.
And just finally, 2007 marks 10 years since Baz Luhrman's remake of Romeo + Juliet hit the cinema screens. It also marks 10 years since the groundbreaking soundtrack topped the world's album charts for 972 consecutive weeks. The movie's soundtrack gave us pop gems such as The Cardigans "Lovefool", Garbage's "#1 Crush", Kym Mazelle's take on "Young Hearts Run Free", Sade's "Kissing You", and that Prince cover Quindon Tarver bung on about. All in all, the soundtrack was a pretty special part of my collection back in the day (bought on cassette, thank you very much), and now - to celebrate the passing of 10 years - a limited edition pressing of the CD has been released. There are bonus tracks galore and, as previously mentioned, The Cardigans' "Lovefool", which is worth the money alone. You can find that on Amazon.
Friday, March 30, 2007 Is the new Joss Stone just a load of old shit?
No.
There I've said it. The new Joss Stone album is NOT - I repeat - IS NOT TERRIBLE. Don't let the lead single fool you! Yes, "Tell Me Bout It" IS a load of old shit and, judging by its release, one would not be a terrible person to assume the rest of the album wallops on in the same fashion. This is the exact reason I avoided "Introducing Joss Stone" like the plague (that and the fact I found her first two albums filled mainly with terrible songs - naturally excluding "You Had Me" - which is pretty much her "Can't Get You Out Of My Head" isn't it?), I even went as far as instructing the mail man to take back the promo package when he delivered it the other week. He would not.
But the other day, whilst observing a photograph of Joss and her new crazy hair-do, I figured seeing as the promo sat under paperwork and CD rubble on my desk and that she'd taken a lot of time and effort to reinvent her locks, I'd give her new album a quick go.
Low and behold: not a terrible long player. "Girl They Won't Believe It" truly needs to be a single, all with thanks to its delightful melody and charming lyrics. Certainly easier on everyone's ears than that offensive first single. Next single "Tell Me What We're Gonna Do Now" sounds a bit like Jamelia's "Go" (which, granted, sounds like several thousand other songs), but with Common rapping over several assorted areas. EVEN WITH SAID RAPPING, this song is MUCH better than that first single, which I have WELL AND TRULY ESTABLISHED AS BEING THE SINGLE WORST RELEASE OF 2007 THUS FAR, Though Scooch may not want to get so comfortable sitting at the Number #2 spot just yet.
"Music" features guest vocals from everyone's favourite 90's recluse and MTV-Unplugged-serial-bawler Lauryn Hill. It is very good - funnily enough - until Lauryn's bit. However, this should still probably be a single but only AFTER "GIRL THEY WON'T BELIEVE IT" THANK YOU. (FYI: Everyone's favourite 80's recluse is, obviously, Agnetha Faltskog.)
There is an incredible amount of shouting during "Put Your Hands On Me", in which Stone channels a frighteningly loud Brandy vs Monica during their live showdown several years ago of "The Boy Is Mine", but times about a thousand. This is the only song on Stone's album that actually makes "Tell Me 'bout It" sound like gods gift to those with hearing ability.
There are also a few slow songs on this record which aren't too bad either, but not really worth talking about. Overall, the album's about a 6.5/7 out of 10. Really the final mark will depend on how well it ages for me over the next couple of weeks and whether Oprah will feature Joss on her show again. The album sold about 3 copies in Australia last week which guaranteed it a #15 debut. Seems our nation isn't too bothered with buying music these days. The US have embraced the album though, debuting at Number #2 this week after outselling her last album release over there; over 100k copies sold.
While we're on the subject of Joss, there is a fucking hilarious article up on The Daily Mail website, which claims Joss mistakenly gave a press conference to Security Guards after the Brit Awards. Sweet Jesus and Madonna almighty, you just cannot make this kind of shit up.
Will this be the very last time Stone's name is ever uttered on this here website? Most probably, yes.
And, just finally, in honour of the Faux-American's wondrous performance at this years Brit Awards, "Big Love" going out to all the people who've sent me emails or left comments offering their condolences after the loss of my beautiful canine Scully during the week. It has meant the absolute world to me, thank you so, so very much. xoxoxo
This week it is all about the new Rogue Traders album. We would have previewed this for you on Friday but the amount of server bullshit we had to sift through to get our bloody Australian Princess update online was enough of a headache, so we convinced ourselves to stay very clear of the site until at least Sunday evening.
So this new Aussie release. It's really quite good. No, reeeaaally quite good. All up, 12 tracks, with only one of them being a dud filler, and only one being a crazy Janet-like interlude.
The Rogue Traders, who consist of James Ash, Stevie D and recent addition, Neighbours star Natalie Bassingthwaite (and their nameless drummer is strangely on the cover as well), have been filling the ears of Australians with good quality dance music for more than just the last 24 months. They may have indeed come far since their rather annoying INXS sampling "One of my Kind" from a few years back, or since their amazing first few singles "I Need You To Show Me" and the 'shoulda-been-number-one-for-months' "Give Into Me", but do any of you remember an act by the name of Union State? They had some corker tunes including "The One", "Out To Getcha" and "Retrosexual". Remember Thunderchild? Anyone who owns a Wild FM Compilation CD will surely fondly recall such anthems as "B Boys To The Dancefloor" and, er, "Thunderchild". These were all the masterworkings of James Ash and Stevie D.
The boys began their reign of dance when they worked over at Melbourne's 89.9 Hitz FM (R.I.P.), where the two were on-air jocks. Cut a long story short, they've pushed and worked ever-so hard on getting their sounds heard, they are now probably the biggest pop band in the country and will, hopefully, take over the world very soon.
But onto the album. It's called "Here Come The Drums"...
BELIEVER Quite the ferocious opener, with a dirty guitar intro which leads Natalie into singing "Just come on and say you love me/One more time what you waiting for/I just got paid I won't be lonely/So take my hand, what you waiting for?/I'm a believer". Strong and solid way to open an album filled with potential singles... 9.5/10
VOODOO CHILD First single that introduced Natalie the vocalist to the world. Not only one of the bands stronger moments, but probably the best Australian release this year by a longshot. 10/10
WAY TO GO! Second single (which has debuted at number #15 on the Aria charts) which boasts the legendary line "Fake it baby, they won't even know". Charmingly good, with Nat almost breaking into a feisty rap. 9/10
WORLD GO ROUND Sounding like a vocally gifted Holly Valance, Natalie coo's and aah's about not being "That type of girl, but you're my type of guy/Come a little closer darlin', and I'll show you why". This is what the Bodyrockers only dream they sounded like. 8/10
RESCUE ME Unfortunately, no, this isn't an electro-pop cover of the Madonna classic. Instead it's a rather wishy-washy ballad that sounds more like a bit of an after-thought rather than a solid album track. Still, it's a lot better than most of the shit in the charts at the moment, ballad or not. 6/10
WATCHING YOU Will be a big favourite when played live, and within the first 10 seconds, it's easy to see why. Heavily sampling The Knack's "My Sharona", as great as it is - sounds a little too much like 'Voodoo Child'. However hearing Natalie sing "I need a little edge with my electro-pop" makes up for any disappointment found within the song. 8/10
CHANGE THE CHANNEL Interlude. Which has some great 2 second beat samples through it that we'd like to hear more of. 7/10
WE'RE COMING HOME The first track that really screams "Possible single release", the heavy use of guitars is still laced through out this number, but sounds unlike anything on the whole album. Quite possibly what the last Garbage album should have sounded like. 10/10
FASHION Another one that's all a bit like "Voodoo Child", sounds like a Cheyne Coates album off-cut rather than something that should have ended up on the Rogue Traders album. But once again, in comparison to other things out at the moment, it's really quite good. 7/10
WHITE LIGHTNING Possibly a bit too obscure to be a single, but with an infectiously arse-shaking electro-breakbeat groove like this, it probably should be. Not only does Natalie sing "The doctors say it's over/They think I've gone insane", but she has a few amazing screaming moments. Divine really. 9.5/10
IN LOVE AGAIN If there were any justice in the world, not only would this be the next single, but it would be Number #1 in ever single country in the universe. Swapping the heavy-rock guitar sound for a keyboard-synth, this is not only the most club-friendly moment on the album, but probably the best. Natalie's voice is intensely sharp and on-the-ball through the entire 5 minutes, and the vocoder background vocals supplied by Mr James Ash add to the electrifying mood of this song. Surely this must be shared with the world. 10/10
CASTING ASIDE Natalie does not sing on this one. Instead it's Rogue Trader James Ash who takes to the microphone for this rather filler-ballad. A bit of a disappointment to end the album this way, but at least we can safely say the man sounds alright on vocals. This will grow on you after a few listens... 6.5/10
So overall, this is a very strong album. The Rogue's prove they're here to stay for a few more years, and Natalie shows us an exquisitely remarkable display of being the most exciting pop star the country has seen in years. Mark my words: This is probably going to be the 4th most important album you buy this year.
Overall trading cards out of 10? I'll say 9. Close to being a full 10 but not quite.
"Here Come The Drums" out nationally tomorrow through SonyBMG.
