Tag Archives: Review

DAILY BEAT: Ke$ha – Cannibal

I ended the ‘Animal’ era on a negative note when I told myself Ke$ha’s just a party animal who decided to get drunk and make such catchy, record-breaking music. Unfortunately, with the string array of singles she has released – I’m forced to eat those words. From the quirky ‘Tik Tok’ rip-off ‘We R Who We R’, to the  sounds of  ‘Sleazy’ I’m convinced her new EP, ‘Cannibal’ might sound actually a lot better than what I am expecting.

This new track, released to the Australian iTunes (it’s like they’re always getting the new Ke$ha singles) ‘Cannibal’ is ferociously brilliant. With explicitly clever lyrics, ‘Use your finger to stir my tea, And for dessert I’ll suck your teeth, Be too sweet, and you’ll be a goner. Yep, I’ll pull a Jeffrey Dahmer’. and an interesting party beat – you’ll love this the more you spin it. Well, it’s one thing Ke$ha’s music have been proved of.

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Single Review: McFly – Shine A Light (feat. Taio Cruz)

I don’t know what happened to McFly when all of a sudden they’re back with their fittest bods, oozing sex appeal and a more pop sounding music. Usually, the punk/rock band gives us those head banging rock tunes but with their new-found change of style, they’re becoming like the male counterpart of The Saturdays and a new rival for JLS, The Wanted and OneDirection except they play bloody good with their instruments. Adding to the surprise, their new single features UK R&B sensation Taio Cruz in this poppy, boy-band sounding ‘Shine A Light’.

To be roughly honest with you, I didn’t really pay attention to McFly’s music way back then when they started in 2004. I had a couple of tracks on my iPod which I liked before but they kind of veered away into my music circulation since then. ‘Shine A Light’ boosts a typical boyband chorus – a midtempo, electropop track that oozes with Cruz’s synths and a catchy ‘Eh Eh’ squirming around the background. At first, you may kind of think that this pair won’t work but the result is quite convincing and we’re loving every minute of it.

RELEASED: November 8, 2010 (UK)

LABEL: Island / Universal UK

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B-Side: The Saturdays – Had It With Today

Oh yes. Another single and it means another new track from our current favourite British girl band – The Saturdays. The girls have teamed up with Flo Rida in their new single, ‘Higher’ to be released Monday and along with it is a new track titled ‘Had It With Today’ – a poptastic, bit of everything with its synthy undercurrents and magnificent vocals as usual from the girls. Not their best B-side to date but is a million times better than their previous one, ‘Ready To Rise’.

‘Had It With Today’ is included in band member Una Healy’s first solo EP back in 2006. Back then it received an acoustic/rock feel and their producers realised that it would definitely be a bore if they didn’t spice up the track a little bit. Unfortunately, even though the re-work is brilliant – you’d have a sense that the Una’s solo version before would’ve been better and suited ‘Higher’s electro bonanza. But still, I think we have to thank the girls for pulling this off and presenting us with new stuff every now and then.

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ALBUM REVIEW: Cheryl Cole – Messy Little Raindrops

‘Messy Little Cumshots’ I-I mean ‘Messy Little Raindrops’  – I absolutely thought it’s a brilliant album name but never would’ve thought in a million years that Cheryl’s going to name her album like this. It’s not bad for an album full mainly of personal maladies about a broken marriage, being sick with malaria and a budding romantic affair. She’s got 12 tracks to prove she won’t be called a ‘National Treasure’ as the Brits call it for nothing. Here’s a semi track by track commentary on CHEZZA’s new record.

The 43 minute record starts with the lead single, ‘Promise This’ in which she cleverly used the French word ‘Alouette’ to metaphorically describe basically ‘Derek’ for everything that has happened to her life in the past few months. It’s not bad entirely but it really sounded like a rushed piece of dance record that doesn’t present any premise of a lead single. Unlike ‘Fight for This Love’, ‘PT’ didn’t show a lot of ‘infectious parts’ except for the French phrase she utters throughout the track. In totally it really just fits in in the ‘okay’ level.

Moving on, is the 2nd track, ‘Yeah Yeah’ which features Travie McCoy on this 90’s disco sound infused with a hip-hop influence coming from McCoy’s unnecessary verses. There’s nothing much to adore in this except that it did sound different from the other tracks in the LP. Probably not your choice for single #3 but it’s a nice album filler but shouldn’t be placed ahead of the better songs.

The Flood’ is unarguably the best track on the record in which Cheryl shows every bit of vulnerability she has. I think she just sang it with sincerity and conviction that you wouldn’t notice that this track might have been done before melodically. ‘But you can’t hold on to water that fills you up but never stays.’ – Cheryl sings with purity as she grasps for love. I’m not sure why she’s doing this because I think we can all show some love for her anytime eh? Unless you’re a hater – it’s quite understandable.

I think most of us are expecting that ‘Amnesia’ is a cover of a Britney track when the tracklisting came out for ‘MLR’. I actually won’t mind if that happen because the original was a bore and I thought Cheryl might have done something more with it. Vocally, there’s something I’m concerned about. She’s actually singing these tracks with minimal productions that it exposes her flaws as a singer. Her inability to reach the high notes in these songs makes her sound too trying hard for it. Especially ‘Raindrops’, in which she sounded like her vocal chords are gonna tear-up anytime soon.

Moving on, I commend Cheryl for putting off the misery from our backs towards the latter half of the LP. ‘Hummingbird’ – the LP’s 8th track started the happy, a little bit joyful moments of the mostly bleak record. But to be honest, the latter parts of the song are quite painful to hear. She’s using enough of her narrow vocal range that it sounded like she’s shouting towards the end of the track.  But I have to admit, this really put a smile on my gutted face while listening to the record.

Another collaboration, ‘Better To Lie’ – plays into the safe side as she’s starting to redeem herself from the mediocrity she has been lingering on from the first parts of the record. The collaboration isn’t what I have expected but these are the songs Cheryl should sing. It didn’t push her vocals too hard and it just fits everything. A hip, very radio-friendly R&B track is what she needed after all this.

‘Let’s Get Down’ is actually a fun track to deal with. Cheryl rapping with her Geordie accent – what more could you ask for? Plus you can totally imagine what she’d be wearing if this had a video. ‘Uhl me Leydeis, uhl my gerls, uhl my hunnies, uhl my betchis and meh leydeis’ – it’s a total breath of fresh air to be gleefully honest. I’m quite happy she’s doing tracks like this but I’m not sure but it can be looked as too contrived. But overall, I think it’s lovely to hear her have some fun despite all the drama in her life.

Cheryl keeps the swag on until the last track ‘Waiting’ – a surprisingly Vanessa Carlton sampled pop/dance track. I’m afraid to say this but I think these tracks are what Cheryl should be singing. Fun, upbeat tracks that won’t require her narrowed vocal range to be torn out into pieces. It’s jumpy, fresh and possible dance floor filler. It’s definitely one of the best ways to end an entirely depressing record. I really hope she sticks to this kind of music it fits her vocally.

In totality, ‘Messy Little Raindrops’ maybe filled with sobby, drama inflicted anthems about Cheryl being person, but this record isn’t entirely atrocious. It’s not unusual for pop singers to get personal in their second album or future albums especially if they’ve undergone such media attention because of their personal mishaps. With artists like Cheryl you don’t actually expect their albums to blow you away in terms of its musicality. It’s just that you have to give them the benefit of the doubt whether they’ll deliver or not. But in this case, she didn’t.

RELEASED: November 1, 2010

LABEL: Polydor Records

DOWNLOAD THIS: ‘The Flood’, ‘Waiting’, ‘Better To Lie’

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Single Review: Ke$ha – We R Who We R

Guess who’s the bitch that’s back? You’ve got it right, it’s the severely autotuned, party animal Ke$ha Sebert (with a ‘$’) with her brand new single that doesn’t give us anything but ‘Tik Tok’-ish era once again. Well, what do you expect to come out from her? At least she’s releasing some good stuff right? The new single, ‘We R Who We R’ is just one of the gazillion tracks that leaked following the release of her smashing drunky album ‘Animal’ earlier this year.

The truth is, ‘We R Who We R’ isn’t such a bad track. Clearly, its influences may come from a bit of Katy Perry’s, and the hook reminds us of Wynter Gordon’s dysfunctional single, ‘Dirty Talk’ – which hardly gained any popularity since its release. Its calibre isn’t something you’d jump out of your seat but its pop-friendly attitude makes it easily likable in myriad ways. I’m not saying Ke$ha’s a good artist whom we all need in our pop music lives but admit it, it’s good to have a guilty pleasure sometimes eh?

‘We R Who We R’ is the first single off Sebert’s new EP, ‘Cannibal’ to be released November 22nd.

RELEASED: 25th October 2010

LABEL: RCA Music


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Single Review: Maroon 5 – Misery

We all know you and I both waited 3 years for the release of a new Maroon 5 single right? Well, the wait is finally freaking over. The 5 piece-Grammy Award-winning band are back with a new single. If I may recall, I posted the cover art for the band’s new single back early this month. Recently, the song was uploaded to iTunes for digital purchase. And your $1 spent today downloading this won’t lose you a fortune so If I were you, I’d get this massively amazing new track.

Musically, Maroon 5 are still on the  same page in their new single. Although there are similarities in style from their 2007 hit, ‘Makes Me Wonder’ – ‘Misery’ creeps into something you have been waiting for like ages. Even though there’s nothing more than a good Maroon 5 production, the track signals that it came from a collection of another stunning material from the band. The chorus is insanely addictive and you’d probably scream ‘Oh yeah!’ after hearing this shit. Some people might get disappointed with this but I’m definitely not. And one quick rant, can we please fast forward to September pleaseee???

RELEASED: June 21, 2010 (iTunes US)

LABEL: OctoScope Records

Misery

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Single Review: Lena – Satellite (Eurovision 2010 Winner)

It is really rare for me to appreciate a Eurovision winner and this one really stood out for me. After last year’s major disappointment, I was absolutely ecstatic about the winning entry this year. Germany’s Lena Meyer-Landrut has won with her fantastic single, ‘Satellite’. ‘Satellite’ is her first national hit which became one of the fastest selling digital songs in her home country. Prior to winning Eurovision, Lena won Germany’s ‘Unser Star Fur Oslo’ – the competition which determined Germany’s representative to the Eurovision Singing Contest. During the course of the talent show, Lena has covered songs from Adele, Kate Nash and Paolo Nutini.

‘Satellite’ – an English song written by American writers Julie Frost and John Gordon is a skimpy jumpy pop song that fits Lena’s bubbly personality. With its interesting drum beats, acoustic guitar riffs, ‘Satellite’ brings all about a track that would absolutely make you smile once you’ve heard it. It’s not the best pop song to win a contest like Eurovision but it captures a massive scale audience that particularly would want to buy this record. The track packs a lot of charm thanks to Lena’s sparkling positive aura that makes the track a lot more likable in more aspects.

And just a quick rant, does she remind you of Lenka? And yes, her debut album sounds a lot like something Lenka would do. Really.

RELEASED: March 13, 2010 (Germany)

LABEL: Universal Music Germany

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