[CaraRawr]

All Time Low
Nothing Personal



1. "Weightless"
2. "Break Your Little Heart"
3. "Damned If I Do Ya (Damned If I Don't)"
4. "Lost in Stereo"
5. "Stella"
6. "Sick Little Games"
7. "Hello, Brooklyn"
8. "Walls"
9. "Too Much"
10. "Keep the Change, You Filthy Animal"
11. "A Party Song (The Walk of Shame)"
12. "Therapy"

--

The latest album from my favourite band is definately ATL at their greatest. Although the most highly recognised songs from the album Weightless and DIIDYDIID are great, the lesser known tracks Stella, Walls and Therapy shine through for me. All though a few songs aren't as great as some of ATL's previous ones, NP is my favourite album of theirs so far. 9.5/10

[Arneldo]

Bumping this topic to review Ellie Goulding's debut album, Lights.

I got the album yesterday and spent a lot of yesterday and this morning listening to it. The album is made up of 10 Ellie-tunes, including, of course, the tuneful "Starry Eyed" and "Under The Sheets".

The album opens with the pleasant tune of "Guns & Horses". It's actually my favorite song on the album. A laid-back-electro-pop-ballad (if there is such thing). "Guns & Horses" sets the tone for the up-coming 36 minutes of Ellie. A sweet song, with everything going for it. It is, unsurprisingly, going to be Ellie's 3rd single from the album, and hope it can become her first number 1.

The album continues with "This Love (Will Be Your Downfall)" and "The Writer". The former reminds me very much of a Frankmusik tune - which goes down very well with me. "The Writer" is a stand-out song on the album. Every time I hear it, I do get lost in it slightly. I can't help but listen to the words she is singing beautifully - "Why don't you be the artist and make me out of clay?
Why don't you be the writer and decide the words I say?".

Sadly, the next two tracks - to me - seem like the typical album fillers. "Every Time You Go" and "Wish I Stayed" aren't my favorites at all. Although, compared to some of the rubbish in the charts atm, they are still good.

Ellie ends the album on a high with three kicking tracks, and the album closes with "Salt Skin". A song which reminds me very much of Bjork, and a song which I'm sure many DJ's cannot wait to get their teeth into.

Overall I'd say Ellie's album is pretty samey, and if you are a fan of "Starry Eyed"/"Under The Sheets", then Lights will not disappoint.

Best Song: Guns & Horses
Worst Song: Every Time You Go
Overall Score: 9/10

[MarkWaldorf]

Originally Posted by Shaun

*screams*

THAT'S NOT A ****ING REVIEW.

rofl

[Shaun]

I missed this thread. Cool review, Aaron I like the album...wouldn't give it 9 (I think 7) but still!

[Tom4784]

Marina and the Diamonds - Family Jewels

The Family Jewels is a rare album where I don't really hate any of the songs, each song on the album is quite distinctive as well. The songs are rather bipolar in the way, in 'Are You Satisfied?' she regurlarly flicks between happy and extroverted and sad and introverted all while to a rather happy instrumental and it works really well.

'Shampain' is one of the weaker tracks, It's not bad it's catchy but it doesn't compare to the highlights of the album and it always tends to get lost among the heavy hitters. 'I Am Not A Robot' was the first single if I recall and I still adore it months after it's release. It showcases the more serene side to Marina and the high vocal style works wonders. It was the song that made me pay attention to her and it still works wonderfully.

'Girls' is a catchy uptempo number and it's quite catchy, the chorus is well written and echoes Lady Gaga and Girls Aloud in the way of using repetition and sounds to create a great hook. 'Mowgli's Road' is my personal favourite of the album, it's a bizarre song that's difficult to explain but easy to love. It's catchy, wonderfully peculiar and brilliant. My second favourite song follows on, 'obsessions' is a slow paced song about Marina having an emotional breakdown in a supermarket while shopping for Crackers. It stands out from the other song because there's no soaring instrumentals or catchy-as-hell choruses, it's just a quite low key and well written song.

'Hollywood' is the lead single from the album and it is wonderfully catchy and likable but rather shallow in comparision to other songs on the album. 'The Outsider' is another standout, like 'Girls' it's choruses use a lot of reptition to create a brilliant hook that will keep you listening. 'Hermit The Frog' is a divisive song, Most people seem to hate it but I quite love it. Like 'Mowgli's Road' it's a song filled with bizarre imagery that would be ridiculous if done by a lesser artist but Marina (as shown with Mowgli's Road) has a knack for peculiar lyrics and imagery and makes the song work.

I didn't like 'Oh No!' at first but it grew quickly on me, it's quite an introverted song done in an extroverted way, it's catchy as hell and brilliant. Like with the opener she manages to mix dark moments with the happy instrumental well. The album finishes with 3 low tempo songs ('Rootless', 'Numb' and 'Guilty'). This songs are good (I especially like Guilty) but their placement lessens the impact really, they should have been scattered throughout the album instead of being placed together at the end. When you judge them by their own merits though, they manage to shine.

Overall it's a brilliant album which is quite varied, which is only really let down by some bad ordering of the songs but that's being nitpicky really. Marina's an interesting artist that carries off many opposites extremely well. As said at the beginning, there's not a bad song on here and it's varied enough for most people to find a few songs they like

Best Songs: Mowgli's Road, Obsessions, I Am Not A Robot, The Outsider, Oh No!, Guilty.

8/10

[Jords]

Ahhhhh I cant wait to get Ellie Goulding's album!!!

[Shaun]

----------------------------------------------------
Gorillaz - Plastic Breach
Length 56:46
Label Parlophone / Virgin
Producer Damon Albarn, Gorillaz
----------------------------------------------------
Introduction: The Gorillaz have long been able to get away with what others have not. To children they appear mysterious - they can't really be cartoon characters can they? And yet, to adults they still take a lot of explaining. The only permanent figures are Damon Albarn and a comic-designer by the name of Jamie Hewlett. However this leaves the door wide open for collaboration - and whilst names trickled with their debut - the success flowed and so did those phonecalls.
----------------------------------------------------
Track 01; Orchestral Intro; As far as the Gorillaz go, this is not their sound at all. Damon Albarn has clearly taken something from his work with the Chinese monkey opera, and a sense of grandeur kicks things off here.
Track 02; Welcome to the World of the Plastic Beach; the first words we hear on the album come from the instantly recognisable Snoop Dogg. The orchestry descends quickly into a electronic drum synth and a sign of the album's sound is immediately obvious. A lot of production and effort has been put into capitalising off the current electronic revival scene, and giving it a poppier and grander sound. Snoop Dogg effortlessly does his thing overleaf and sounds almost Faithless in his delivery. 7/10
Track 03; White Flag; Only the Gorillaz could have the vision to take a Lebanese symphony of Oriental and Arabic music and then shove rappers Bashy and Kano on top of it. In planning for the album, Albarn reportedly visited Mali and you can definitely hear some kind of influence from his journeys here. 7/10
Track 04; Rhinestone Eyes; The album's defining theme seems to be an embrace of ecology and not to be so wasteful - indeed 'Plastic Beach' is the name of the fictional retreat where the 'band' have gone to: an island made of the world's garbage. Synths and Albarn's typical laid-back wistful vocals give this a familiar Gorillaz sound, but on holiday. 6/10
Track 05; Stylo; This is one of the best singles I have heard in a very long time. It immediately strikes as very minimalist and bizarre - the absence of a chorus makes it unfriendly to the radio, and its collaboration this time around is the bizarrest yet. Mos Def coolly clicks into place, used sparingly and almost unnoticeably in contrast to the other guest - one who makes this what it is - Bobby Womack. Womack's vocals soar over this extremely cool synth. And my god, the video is just another layer of surprises. This is all of your Christmases at once. 9.5/10
Track 06; Superfast Jellyfish; This sees a return from Gorillaz stalwarts, De La Soul, responsible for their work on previous hit 'Feel Good Inc.' There's an immediate childish pop-sound with a cheesy advert cameo glossing over the ugliness and wanton-carelessness of Western commercialism - it's the plastic of the cereal's toys that's helped to build Plastic Beach. 'Superfast' seems to criticise fast food, but never appears menacing or world-weary in doing so; its cute chorus (helped by Gruff Rhys of psychedelic botherers Super Furry Animals) makes sure of that. 8.0/10
Track 07; Empire Ants; This track takes a while to truly kick off but once it does it's one of the most intense album experiences. Featuring 'Little Dragon', a Swedish electronic band, it's initally the epitome of dream-pop; enough to make Goldfrapp go weak at the knees. Two and a bit minutes in this immediately fades and an electronic sound I can only describe as an audial swarm of bees hits you. Would probably make for a bad acid trip. 7.5/10
Track 08; Glitter Freeze; Almost certainly my favourite album track - this features another unlikely contribution in the form of former Fall frontman Mark E. Smith. Delivering 'where's north from here?' in his typical croak, the track is suddenly thrust into a synthesised riff that would make Timbaland **** himself. Occasionally dipping for Smith to sinisterly croon his lyrics (and occasionally laugh manically), Glitter Freeze is an exhilarating experience. 9.5/10
Track 09; Some Kind of Nature; I was rather looking to a Lou Reed/Gorillaz collaboration - his recent track with the Killers, 'Tranquilize', was fantastic and he's a musical icon. Reed sings of a natural and beautiful quality to the man-made atrocity that is Plastic Beach over a wonky piano tune but I feel his voice isn't quite compatible with their sound this time around. 6.5/10
Track 10; On Melancholy Hill; No star faces this time, but the tune to this more than makes up for the celebrity factor. Almost lullaby in its optimism, it's as if the writers of Juno were seeking the perfect 'teenager jerks off over thoughts of school children' soundtrack. But somehow it's cute. I'll be honest I've no idea where that analogy came from. 8.0/10
Track 11; Broken; It's almost a repetition for emphasis kind of affair here, in that it sounds like a downcast version of On Melancholy Hill. Decent but nothing different. 6.0/10
Track 12; Sweepstakes; Mos Def returns with a rather lovely sounding group called the 'Hypnotic Brass Ensemble'. Distinctly more urban-sounding than the other tracks of the album, Sweepstakes is full of attitude and then descends into brass revelry that would make Mark Ronson jealous. 8.5/10
Track 13; Plastic Beach; I've noticed a tendency with titular tracks to be rather rubbish in music. Well abandon that thought. Is that a guitar I hear? Whoa. In what has to be one of the greatest coups in years - the Gorillaz have reunited Mick Jones and Paul Simonon of the Clash fame for the first time since the legendary band split. Together they've made a heavenly track with a sound somewhere between Joy Division and Daft Punk. 9.0/10
Track 14; To Binge; Little Dragon return and with them their cute electronic sound reappears. There's a distinct rock-and-roll ballad sound to this, perhaps unintentionally being the 'last dance' song of this album's ball. 7.0/10
Track 15; Cloud of Unknowing; The ever-present seaside noises (crashing waves, seagulls) are much more noticeable now - perhaps they were lost in a tide of 80s nostalgia. Bobby Womack's serenade here and the tense music gives this a Arcade Fire sound - majestic and atmospheric. 7.5/10
Track 16; Pirate Jet; I could swear I've heard this before. It's so 'Demon Days' that it almost says 'We have been Gorillaz, thank you and good night'. Rumours of their future have been in question for a long time - with some whispers of it being their last. Should this be, I think they could've done a hell of a lot worse with a curtain call. 8.5/10.
----------------------------------------------------
Conclusion: It's an incredible showcase of talents, genres and pop. Every collaboration bar Lou Reed's works, and their capitalisation on the current electronic revival has been right on the money. There is one criticism for me and that is the meaning of the record - I admire the message and the reasoning behind it - but I feel it's almost too vague and narrow to base a record around. Some will counter-argue that writing a song about it would appear fascile and pretentious, though, and if they've managed to deliver said meaning with as much finesse and great tunes as they have, who can argue with that?
Overall rating: 125/160 = 7.8

[Stu]

You do good reviews. I'll have to do a few.

[Jessica.]

I will review 3/4 albums tomorrow
(If I remember)

[Shaun]

Ellie Goulding - Lights

-----------------------------------------------------------

She's the latest in a string of 'ones to watch', so they say. Still a nobody, she's already won a Brit Award and BBC's Sound of 2010 shortlist. But is the proof in the pudding? Immediate impressions indicate that Goulding's another in a very long string of modern songstresses with a strong foot in the electronic door. Whether or not she'll then survive the tricky challenge of sticking out in a crowd all falls upon her debut album.

-----------------------------------------------------------

1. Guns And Horses - From the get-go, the sound is a mixture of acoustic guitars and light drum beats. Small chimes and synths help to reaffirm this minimalist sound, and Goulding's vocals are given centre stage - sounding somewhere inbetween Diana Vickers and Cerys Matthews. This track is pretty but lacks substance. 5.0/10 - Sounds like: I've already forgotten.
2. Starry-Eyed - I'm unsure as to whether this is her first or second single, but I digress. A much more catchy and radio-friendly affair, live performances of this that I've seen (notably on the Alan Carr show) indicate it's just as good live - it's a cute and twinkly take on disco. 7.5/10 - Sounds like: Little Boots not failing.
3. This Love (Will Be Your Downfall) - For some reason upon first lesson I found myself trying to translate its lyrics into German. The lyrics are more bountiful this time but aren't exactly revolutionary - but the drawn-out chorus and steady rhythm make this one of the better tracks. 6.0/10 - Sounds like: Skins' writers needed a new song in their credits.
4. Under The Sheets - Totally at odds with the rest of the album, Under the Sheets is sexy, brash and confrontational. Strange lyricism and heavy electronics give this an alluring atmosphere and added to its effortless catchiness it's undeniably her best. 8.5/10 - Sounds like: A girl losing her virginity...but not to a drunk man with erectile disfunction.
5. The Writer - Pretty pianos and dream-like synths provide a pleasant backdrop for Goulding's first ballad of the album. Cute metaphors and the best vocal performance so far make this stick out. 7.5/10 - Sounds like: Natasha Beddingfield's 'Unwritten' without the irritability and with added balls.
6. Every Time You Go - A steady rhythm allows for perhaps one of the simplest songs - but the fact of the matter is there's little to write about. The lyrics sound forced, and the tune is nice but not something you'll be whistling an hour later. 5.5/10
7. Wish I Stayed - The only track solely written by Goulding, it's difficult at times to hear what she's singing. It sounds interesting, but could do with a bit of reduction as she's being drowned out by ill-placed synths. 6.0/10
8. Your Biggest Mistake - Demonstrating one of her talents - guitar - Your Biggest Mistake is a completely different sound from the rest of the album. It has a mellow-Alphabeat vibe to it, that is to say effortless catchiness but without the risk of diabetes. 6.5/10
9. I'll Hold My Breath - Following on from where YBM succeeds - a laidback and less electronic sound makes this a welcome release. Cute lyricry and vocals should make this stand out - but it's a fairly forgettable track. 6.0/10
10. Salt Skin - Distinctly more 'La Roux' sounding in its approach, Salt Skin is an interesting closer. Sultry vocals lament an experience of the senses and, in an almost emotion-by-numbers way, it's a fairly hypnotic affair. 6.5/10

-----------------------------------------------------------

So what to make of the latest prodigy? It's fair to say that she succeeds where Little Boots failed - in consistency. A steady process of strong and assured electronic-pop make this perfectly manufactured for the current scene, but it's a scene that's increasingly wearing thin now. There're no signs of radical or experimental attempts, and whilst that would be a risk for any debutant, the greater risk now is of her fading into the giant waterwork print that is modern music.

Rating: 65/100 = 6.5

[Shaun]

Not sure what to review next.

[Firewire]

Sugababes 'Sweet 7'



Released: 15 March (UK)

1. Get Sexy: I loved this song when it debuted back in August, but then there was the split. I heard Jade's version and I thought 'Wow!'. It's in my opinion, better than Keisha's. However, not the best track on the album. My 6th favourite song on the album. 8/10

2. Wear My Kiss: I absolutley adore this song. I fell in love when it premiered. Great that it went to #7 on the UK Singles Chart. Great tune, great lyrics, great video. My fifth favourite song on the album. 9/10

3. About A Girl: I fell in love with this when it premiered on the radio back in November, before Keisha's ousting. I loved it and couldn't wait for it to be released. Then there was the ousting. I still loved the song. When I heard Jade's I loved it even more. It has over 120 plays on my iTunes. Bloody fantastic. RedOne classic. Also, my fourth favourite track on the album. 9.5/10

4. Wait for You: When the album leaked, this was my favourite. I love the beginning, and I hope it's released as a single. Amelle sounds great at the beginning. My third favourite on the album. 10/10

5. Thank You for the Heartbreak: This song is alright. Not the best song on the album, but not the worst. It's got a good tune and is catchy. My 4th least favourite song on the album. 8/10

6. Miss Everything (feat. Sean Kingston): This is my favourite song on the album. I love Jade's verses and the chorus. It's an epic song and I hope it is released as a single. 10/10

7. She's a Mess: A song that will be blasting the clubs, brilliant to get up and dance to. I hope it's released as a single. It's my second favourite song on the album, as it's fantasic. 'London let's go! 10/10

8. Give It To Me Now: In my opinion, this is the worst song on the album. Hopefully as I listen more and more, it'll grow on me. But for the moment I'll give it 7/10.

9. Crash & Burn: This is a brilliant track, a slow song, and only one of 3 on the album. I'm glad it has been chosen as the fourth single and I hope it does well when it is released. To add, this song was written by the girls. My 7th favourite track. 8/10

10. No More You: My third least favourite on the album. It's alright. Better than 'Give It To Me Now' and 'Little Miss Perfect'. 7/10

11. Sweet & Amazing (Make It The Best): Another slow track on the album. Very good, and relaxing. It's quite lovely. My 8th favourite track. 8/10

12. Little Miss Perfect: My second least favourite track on the album. It's alright though. 7/10

Overall rating: 93.5/120

Recommended tracks: Miss Everything, She's A Mess and Wait for You.

[Harry!]

Originally Posted by Shaun

----------------------------------------------------
Gorillaz - Plastic Breach
Length 56:46
Label Parlophone / Virgin
Producer Damon Albarn, Gorillaz
----------------------------------------------------
Introduction: The Gorillaz have long been able to get away with what others have not. To children they appear mysterious - they can't really be cartoon characters can they? And yet, to adults they still take a lot of explaining. The only permanent figures are Damon Albarn and a comic-designer by the name of Jamie Hewlett. However this leaves the door wide open for collaboration - and whilst names trickled with their debut - the success flowed and so did those phonecalls.
----------------------------------------------------
Track 01; Orchestral Intro; As far as the Gorillaz go, this is not their sound at all. Damon Albarn has clearly taken something from his work with the Chinese monkey opera, and a sense of grandeur kicks things off here.
Track 02; Welcome to the World of the Plastic Beach; the first words we hear on the album come from the instantly recognisable Snoop Dogg. The orchestry descends quickly into a electronic drum synth and a sign of the album's sound is immediately obvious. A lot of production and effort has been put into capitalising off the current electronic revival scene, and giving it a poppier and grander sound. Snoop Dogg effortlessly does his thing overleaf and sounds almost Faithless in his delivery. 7/10
Track 03; White Flag; Only the Gorillaz could have the vision to take a Lebanese symphony of Oriental and Arabic music and then shove rappers Bashy and Kano on top of it. In planning for the album, Albarn reportedly visited Mali and you can definitely hear some kind of influence from his journeys here. 7/10
Track 04; Rhinestone Eyes; The album's defining theme seems to be an embrace of ecology and not to be so wasteful - indeed 'Plastic Beach' is the name of the fictional retreat where the 'band' have gone to: an island made of the world's garbage. Synths and Albarn's typical laid-back wistful vocals give this a familiar Gorillaz sound, but on holiday. 6/10
Track 05; Stylo; This is one of the best singles I have heard in a very long time. It immediately strikes as very minimalist and bizarre - the absence of a chorus makes it unfriendly to the radio, and its collaboration this time around is the bizarrest yet. Mos Def coolly clicks into place, used sparingly and almost unnoticeably in contrast to the other guest - one who makes this what it is - Bobby Womack. Womack's vocals soar over this extremely cool synth. And my god, the video is just another layer of surprises. This is all of your Christmases at once. 9.5/10
Track 06; Superfast Jellyfish; This sees a return from Gorillaz stalwarts, De La Soul, responsible for their work on previous hit 'Feel Good Inc.' There's an immediate childish pop-sound with a cheesy advert cameo glossing over the ugliness and wanton-carelessness of Western commercialism - it's the plastic of the cereal's toys that's helped to build Plastic Beach. 'Superfast' seems to criticise fast food, but never appears menacing or world-weary in doing so; its cute chorus (helped by Gruff Rhys of psychedelic botherers Super Furry Animals) makes sure of that. 8.0/10
Track 07; Empire Ants; This track takes a while to truly kick off but once it does it's one of the most intense album experiences. Featuring 'Little Dragon', a Swedish electronic band, it's initally the epitome of dream-pop; enough to make Goldfrapp go weak at the knees. Two and a bit minutes in this immediately fades and an electronic sound I can only describe as an audial swarm of bees hits you. Would probably make for a bad acid trip. 7.5/10
Track 08; Glitter Freeze; Almost certainly my favourite album track - this features another unlikely contribution in the form of former Fall frontman Mark E. Smith. Delivering 'where's north from here?' in his typical croak, the track is suddenly thrust into a synthesised riff that would make Timbaland **** himself. Occasionally dipping for Smith to sinisterly croon his lyrics (and occasionally laugh manically), Glitter Freeze is an exhilarating experience. 9.5/10
Track 09; Some Kind of Nature; I was rather looking to a Lou Reed/Gorillaz collaboration - his recent track with the Killers, 'Tranquilize', was fantastic and he's a musical icon. Reed sings of a natural and beautiful quality to the man-made atrocity that is Plastic Beach over a wonky piano tune but I feel his voice isn't quite compatible with their sound this time around. 6.5/10
Track 10; On Melancholy Hill; No star faces this time, but the tune to this more than makes up for the celebrity factor. Almost lullaby in its optimism, it's as if the writers of Juno were seeking the perfect 'teenager jerks off over thoughts of school children' soundtrack. But somehow it's cute. I'll be honest I've no idea where that analogy came from. 8.0/10
Track 11; Broken; It's almost a repetition for emphasis kind of affair here, in that it sounds like a downcast version of On Melancholy Hill. Decent but nothing different. 6.0/10
Track 12; Sweepstakes; Mos Def returns with a rather lovely sounding group called the 'Hypnotic Brass Ensemble'. Distinctly more urban-sounding than the other tracks of the album, Sweepstakes is full of attitude and then descends into brass revelry that would make Mark Ronson jealous. 8.5/10
Track 13; Plastic Beach; I've noticed a tendency with titular tracks to be rather rubbish in music. Well abandon that thought. Is that a guitar I hear? Whoa. In what has to be one of the greatest coups in years - the Gorillaz have reunited Mick Jones and Paul Simonon of the Clash fame for the first time since the legendary band split. Together they've made a heavenly track with a sound somewhere between Joy Division and Daft Punk. 9.0/10
Track 14; To Binge; Little Dragon return and with them their cute electronic sound reappears. There's a distinct rock-and-roll ballad sound to this, perhaps unintentionally being the 'last dance' song of this album's ball. 7.0/10
Track 15; Cloud of Unknowing; The ever-present seaside noises (crashing waves, seagulls) are much more noticeable now - perhaps they were lost in a tide of 80s nostalgia. Bobby Womack's serenade here and the tense music gives this a Arcade Fire sound - majestic and atmospheric. 7.5/10
Track 16; Pirate Jet; I could swear I've heard this before. It's so 'Demon Days' that it almost says 'We have been Gorillaz, thank you and good night'. Rumours of their future have been in question for a long time - with some whispers of it being their last. Should this be, I think they could've done a hell of a lot worse with a curtain call. 8.5/10.
----------------------------------------------------
Conclusion: It's an incredible showcase of talents, genres and pop. Every collaboration bar Lou Reed's works, and their capitalisation on the current electronic revival has been right on the money. There is one criticism for me and that is the meaning of the record - I admire the message and the reasoning behind it - but I feel it's almost too vague and narrow to base a record around. Some will counter-argue that writing a song about it would appear fascile and pretentious, though, and if they've managed to deliver said meaning with as much finesse and great tunes as they have, who can argue with that?
Overall rating: 125/160 = 7.8

Getting that tomorrow. Sounds like a good album!

[Shaun]

****'s sake, i just typed up half a goldfrapp review and accidentally pressed backspace when it wasn't clicked on this text box. all gone. <_<

[M X]

gutted.

[Shaun]

quite.


Released 22 March 2010 (2010-03-22)
Genre Electronica, synthpop
Length 38:10
Label Mute (STUMM280)
--------------------------------------------------------------------
Their fifth studio album now, Goldfrapp have long been considered the UK's champions of electronic-pop with a unique blend of imaginative vision and camp appeal. Fans of their last venture, 'Seventh Tree', embraced its earthy and almost-drugged up sound that allowed for eccentricity by the bucket.

However the first single from this latest effort, 'Rocket', has divided the fanbase. Hailed by some as a return to their 'Supernature' sound of somewhat sleazy but sexy disco-electronics but criticised by others as a premature destruction of their 'Seventh Tree' indie appeal, is 'Head First' similarly marmitish in its conception?
--------------------------------------------------------------------
1. Rocket - with a sound that can only be described as somewhere extraterrestrially between Thin Lizzy and Donna Summer, the album commences with their first single and it's a stomper. Incredibly camp, Goldfrapp dismisses a lover over incredibly catchy beats. And if that wasn't gay enough, the music video contains pink smoke, pink skies, jumpsuits and an incredibly phallic rocket. Ooer. 9.0/10
2. Believer - sounding more Human League than Goldfrapp, 'Believer' is a fast-paced and similarly catchy number - little visionary work but hey, a little break's more than welcome. 7.0/10
3. Alive - less electronic and more pop, 'Alive' sounds like a less annoying Alphabeat. Alison's vocals are more distinct over simple and pleasant piano tunes and guitar glimpses, but still retain its carefree and upbeat attitude. 7.5/10
4. Dreaming - sounding halfway between Giorgio Moroder and Sonique, 'Dreaming' is probably more nightmarish than the title suggests. Ditching the happy approach, darker and more ominous beats replace but to little effect. 6.0/10
5. Head First - Ironically the most 'Seventh Tree' sounding of this record, 'Head First' demonstrates more soothing vocals and relaxed synths which allow you to be floated through Goldfrapp's pleasant little dream sequence. 6.5/10
6. Hunt - Hushed whispers and piercing synths give this an again sinister sound as she sings "tonight we hunt for you". There're no soaring glimpses of euphoria on this track, perhaps reason for it sticking out in the crowd. 7.0/10
7. Shiny and Warm - A distinct 1-2 beat throughout gives this a steady rhythm but there is little effort put on top. It's almost as if it were designed to go unnoticed. 3.0/10
8. I Wanna Life - If track placing was designed to give 'I Wanna Life' a fair amount of opportunity to more than make up for lost ground, then it works. Sounding almost Gwen Stefani in the delivery, but thankfully un-Gwen Stefani in its pleasantness, this more than makes up for Shiny and Warm. 6.0/10
9. Voicething - There have thus been next to no signs that they could be behind the iamamiwhoami campaign. The campaign, which features 6 (so far) YouTube videos with a distinctly Goldfrapp image of trees, a leud nature-meets-art style and mystery is almost as if they're trying to pin it on Goldfrapp without their knowledge. However, Voicething has an animal-like quality to it with strange breathy voices and sudden turns in tune that make it possible. The track's pretty much the perfect ending to the album - it paves the way for a return to their artistic sound. 5.5/10
--------------------------------------------------------------------
A simple way of summarising the album would be comparing it to a disco experience. It's quick, it's got its highs and euphoric elements, but ultimately it lacks real substance and can be forgotten with another disco. There aren't really any new grounds in Goldfrapp's artistic ability to be found here, and whilst the abundance of feel-good dance-pop will please you for a while, it's not going to be a record you cherish repeatedly.

Rating: 60/90 = 6.6 out of 10.

[Shaun]

MGMT - Congratulations - quick review



From interviews they sound like they're going down an 'album, no singlez' direction - which is something to applaud I guess given the music industry's insistence on placating the increasingly small attention spans of 'popular' listeners and a big '**** you' to those who advocate that.

However, there's something to mourn and that's the absence of a phenomenal single like 'Kids' or 'Time to Pretend'. From my first listen, what sounds like a rebellion against the industry is actually an excuse for a glaring lack in unique or interesting material.

The latter possibility is, however, a harsh one to suggest. The album does have a neo-psychedelic feel to it (especially on 'I Found A Whistle' and 'Someone's Missing') that's both trippy and entertaining. Cameo references to Brian Eno do not go unnoticed - providing one of the better tracks.

Then there's the 12-minute opus 'Siberian Breaks' - which one rather critical listener described as '20 ideas half-heartedly shoved together'. This is not totally unfair; there is a great variety of sounds and styles employed and it could easily be passed off as a track with 3 other hidden tracks.

There is a definite improvement in the songwriting. Ideas are much more thought-through and creative, and the duo sound more Simon and Garfunkel than Daft Punk at times. The track 'Lady Dada's Nightmare' is an extremely intense listening experience; manic screams set to delirious setting.

In short it's a bit of a disappointment. However the majority of critics will be rather unfairly comparing it to their brilliant debut, and yet again the curse of the 'second album' is always going to strike. The album isn't particularly exciting, but it has its highlights and there's a consistency to it.

For those of you who like Empire of the Sun, Goldfrapp, Super Furry Animals.
Rating: 6/10

[Damaris]

Chew Lips (sometimes written as CHEW LiPS) are a South London based dance-pop trio, formed in spring of 2008. They consist of singer Tigs, and multi-instrumentalists Will Sanderson and James Watkins

1.Eight-Eight starts the album of with dreamy synths and quiet drumming noises.With lead singer Tigs voice entering sounding fragile then a drum beats kicks in the song real comes into its own.Tigs' voice soars then it goes into a simian mobile disco esque synthy solo.This song sounds like Yeah Yeah Yeahs-Skeltons little sister. 8/10

2-Play Together-Tigs sounds almost seductive on this song.The best thing about Chew Lips is the way they use their electronics.This song just makes you want to dance with the catchiest chorus on the album.'And we’re ready but we didn’t sign Cuz you know it when it isn’t right Better look behind both eyes Oh we’re never getting out alive' it almost starts to sound Euphoric. 10/10

3-Slick-Starts with hand claps and beepy synths.The songs lyrics are probley the best yet.Tigs sounds sad and yearning like she is singing to a lost friend.'Now it seems like its history,thoughts from a past life'.This song could of been better if it was a little bit stripped down to just piano maybe. 8/10

4-Karen-The First sign of Guitar on the album.The song flows really well and all the instruments work well together.The song builds up into a massive chorus which just makes you want to dance. 8/10

5-Too Much Talking-The song starts of mysterious then Tigs comes in again singing as if she is upset.The synths make this song very emotional along with Tigs incredible voice.Then more beepy synths and this song builds up and this song still manages to sound mysterious.Maybe the best electronic style ballad ive heard in a long time. 9/10

6-Toro-Horror synths start this song.Again Tigs' voice shines.i can imagine a horror themed video here like Ladyhawke-Dusk Till Dawn.As like many songs on the album Chew Lips sound effortless. 9/10

7-Seven-This song is the same formula as the others really the verses arent very memorable to be honest.But this songs chorus is just incredible.With Tigs sounding like Karen O.Apart from the massive chorus the rest of the song is kinda average. 7/10

8-Two Hands-Playgroundy childlike gameboy synths start if this song with a tiny electronic drum beat in the background.This song shows of tigs melodic voice brilliantly 7/10

9-Gold Key-The start of the song is kinda muffled but it evolves into probley my favourite songs and lyrics of the album.This song sounds like it would be one when their is a disaster or something.it then builds up with the drums.Still its the most vunreble chew lips sound on the whole album.With a massive guitar synth solo in the 3rd quater.Suprisingly Chew Lips excel when they are singing ballads. 10/10

10-Piano Song-A short closer to the album.Literally piano based with tigs soft voice soaring over the top.this song is generally sweet with the violin etc it just works. 8/10

This album is the second best album of the year so far in my books just behind Los Campesinos-Romance Is Boring.I think they are very underated at the moment.A brilliant album and i cant wait to see them live.

84/100

[Damaris]

Im gonna do more reviews later

[Shaun]

Christina Aguilera - Bionic

The press surrounding Christina Aguilera lately has been divided to say the least. It's been 4 years since her last new project, Back to Basics, and whilst a greatest hits compilation and VMA performance have provided her fans with a few glimpses of respite - many have grown impatient with the star. Ranked 53rd in Rolling Stone's "Greatest Voices of all time" (the only under-30yo to be in the list), Aguilera's taken a whole host of creativity criticisms from angry GaGa fanatics and the blind and impressionable - deluding themselves into thinking that anyone who wears a bizarre headpiece is now a copycat - and the video for "Not Myself Tonight", Bionic's lead single, didn't exactly endear herself to said cynics.

But more confusing is where to place Bionic. Music has changed a bit since 2006 - where digital downloads were still a novel concept and Lady GaGa was still a man. "Not Myself Tonight" released nearly two months ago now, and it seemed to have thoroughly jumped on board with the electro-pop/dance bandwagon.

However, the album is little influenced by this genre. With producers and writers ranging from alternative urban influences M.I.A. and Santogold, to safe and cosy indiequeen Sia, Aguilera tries her hand at a whole host of different styles and the album feels a little disjointed as a result. It's not exactly R&B, it's not exactly dance, it's not exactly deathcore.

Opening with the eponymous track there's an immediate resonance of M.I.A.'s distinctive sound. "Bionic", "Desnudate" and "Elastic Love" are all strong examples of this influence, and Aguilera would be able to pull it off more comfortably...if she featured more. She almost seems to be the featuring artist here rather than one in her own shoes.

Empty and vague assertions are made throughout on her signature "intros" and "interludes" (proclaiming rather general thoughts about the importance of fashion and glamour) and "Glam" is another such tedious track. It's sure to please those who believe mumbling the words "ooh, fierce, move it baby, shake it" is an entirely fresh signature. "Prima Donna" continues the trend, albeit in a more slick and finished fashion - where Aguilera confidently demonstrates her vocals rather than whispers and mutters.

"Sex For Breakfast" is always going to be an interesting title to look out for, but this time it's for all the wrong reasons. Rather than a sexy and provocative number, it's a lazy R&B deadweight that Mariah Carey would probably endorse.

Aguilera finally comes back to something familiar on "Lift Me Up" - a song she released months ago for the Help For Haiti campaign under an acapella version. This time round, she has a mellow and unusually easygoing backdrop for what's otherwise a vulnerable and genuinely emotive ballad. She plays further on the heartstrings with the "My Heart Intro" featuring 21 seconds of her family interacting cutely.

There are then a few more fillers in the form of "I Am" and "All I Need" - both uninspired yet cute ballads that sound like the soundtrack to a sour love story in New York.

However, Christina's real masterclass is shown on "You Lost Me", which has the potential to be one of her most talented and powerful ballads to date (a difficult hill to climb given the likes of "Hurt", "The Voice Within" and "Beautiful"). Documenting an abusive relationship with a classic strings backdrop, Aguilera truly shines and it builds into something quite magical.

There are then 3 more tracks which are a return to the fun, dancier Christina which offer a few flashbacks to the like of "Can't Hold Us Down" and "Come On Over". "I Hate Boys" is a simple and infectious tune that could perform well as a single - "My Girls" features guest vocals from Peaches and is equally catchy.

The album, however, ends on "Vanity" - a rather shallow and unattractive proclamation of how confident Christina is whilst resorting to pointless provocativeness in "that bitch is so ****ing pretty" and "I make myself so much wetter". Again, it'll please the queens, a group I fraternise with at a toedeep level evidently, because this just makes me cringe. The song ends with Aguilera asking "who owns the throne?" to which her son replies "You do, mommy" - which on the surface would seem rather cute, had mommy not just sung about being 'wet'.

------------------------------------------
As a result it's difficult to place this album. Is it as good as Back to Basics? Not by a long shot. But does it have any redeeming qualities? It certainly has its highlights. I have a feeling though that in today's musical climate, Aguilera will struggle to pull off this disjointed and jack-of-all-trades approach. Yet again, she's only demonstrated herself to be a master of one - the belting and suckerpunching ballads.

Must-haves: Lift Me Up, Not Myself Tonight, Desnudate, Bionic, You Lost Me, I Hate Boys
Avoid like the plague: Vanity, Glam, All I Need

Rating: 6.0/10

[Shaun]

"OMG SHAUN YOUR REVIEWS ARE AMAZING"

yeah i know.

[Smithy]

We have an album review thread

And I pretty much agree with everything in the Xtina Review, although I haven't heard much of MIA/Santogold

[Shaun]

Robyn - Body Talk Pt.1

In the first of what is set to be an ambitious 3 albums this year, swedish popstar Robyn returns from a renewed sense of pop stardom. She emerged in the 90s with a one-hit-wonder and seemed unlikely to return, especially not in 2007. But she managed the impossible and even managed to push her way to the No#1 spot for 3 weeks with "With Every Heartbeat". She now has her name embezzled in the hearts of many a dance-loving gay and doll, but can she continue the success on THREE albums?

"Don't ****ing Tell Me What To Do" is unusually understated given its title, as Robyn lists off a range of things that are supposedly 'killing me' - which on the surface would be a lovely '**** you' to the Daily Mail and other such nanny state endorsors, but is more than likely a 'go away' to peers. However this is all forgotten with "Fembots", a sugary sweet dance tune that packs more of its punch in the verses and is one of those tracks that'll creep up on the chasms of your mind at the randomest of times.

"With Every Heartbeat" introduced us to a moodier and more forlorn Robyn, throwing out killer dance hooks but instead showcasing miserable and envious lyrics. Such a move is again demonstrated on "Dancing On My Own" - one of the best dance tunes in years. She continues her unique blend of euphoric music and emotional lyrics on "Cry When You Get Older", albeit in a more optimistic way.

"Dancehall Queen" however seems to introduce a kind of reggae vibe, taking a break from her typical rushed delivery and providing a break from mould. There is then a return of favour on "None of Dem", featuring Norwegian electronic giants Röyksopp (with whom she featured on their track "The Girl and the Robot"). However, those anticipating a repeat of TGATR will be disappointed, as None of Dem is a lingering and bizarre number rather than instant tearing-off-the-roof.

Robyn then moves into "Hang With Me", an acoustic track. It's instantly forgettable, unfortunately, though does make use of a few nice strings and showcases her vocal ability which is often overlooked. She ends Part 1 with "Jag Vet En Dejlig Rosa", a creepy and understated melody that my minimal research has told me borrows from a 16th century Swedish melody; the title meaning "I Know A Lovely Rose". It's a very bizarre ending from Robyn, but at least adds a little diversity to the proceedings.

In short the 2010 Robyn slogan seems to be 'something for everybody'. Experimentations are dealt with at a skin-deep level, never really venturing too far from her safe 'moody-dance' niche - but it's a niche she's nailed perfectly.
Must-haves: Dancing On My Own, Fembots, Dancehall Queen
Avoid: n/a. Cry When You Get Older is a bit forgettable.
Rating: 7/10

[Billy]

I adore Robyns new album, in particular Dancing On My Own +& Cry When You Get Olderrrrr!

[lol]

Here are 2 new albums:

The Powerless Rise by As I Lay Dying:

My Rating: 7/10

Excellent riffs, vocals, drums as usual. This album seems a bit heavier than the rest, and much better. They're improving by every album they make, which is quite rare compared to some bands.

Fever by Bullet for my Valentine:

My Rating: 4/10

Not bad, but still quite a lot worse than their earlier albums. The songs are starting to sound the same now, they're becoming less heavier. However there are some good riffs and solo's here and there.