I was going to try not to have any more interruptions of my countdown until it finished, but I can't help it--I need to take a moment to talk about some things I'm listening to.
Remember Johan Krafman and his Ola-meets-the-Bassflow-remixes-of-Martin-Stenmarck song "Disarmed"? Well, he's uploaded another Bassflow-produced song onto his MySpace. It's called "Chain Reaction" and, though it's not instantly as addicting as "Disarmed," I'd eagerly buy an album in this sound.
Speaking of songs you can listen to on MySpace, I also noticed today that the full radio version of Jeanette's "Undress To The Beat"--a kind of Holly Valance-esque song (I say "kind of" partly because that's not a perfect comparison but also because I don't want you to get your expectations too high) I mentioned my interest in a little while ago--is playing on a MySpace site here. It'll need some time for me to decide its long-lasting value, but I'm willing to give it that time. Its co-writers include Johan "Kermit" Bobäck (Cyndi Lauper's "Into The Nightlife" and "Echo," Elin Lanto's "Speak 'n Spell," Darin's "Seasons Fly") and Måns Ek, I think.
Do you ever wonder to yourself how you've been missing out on an artist all this time? That's how I'm feeling about Swedish artist Kocky (the artist name for David Åström) at the moment. I've always known of him, for sure, but I've never really paid proper attention to him, so yes, it's all my fault for not picking up on him earlier. It's his connection to Rosanna, whose new music I've been excited about since Robpop wrote about it some months ago, that got me to check him out now. I'll be writing more about him in the future as I digest everything, but I just wanted to give you the heads-up--he may have multiple moments of amazingness. Basically, HYPE HYPE HYPE HYPE HYPE. Check out his MySpace in the meantime.
"4-Ever Juvenile," a Kocky single, features Tinchy Stryder, and Frankmusik is reporting that his first "proper" single (apparently "3 Little Words" wasn't it) will be "Better Off As Two," will come out in March, and will have a rap from Tinchy added in. A supposed tracklisting for Complete Me has popped up on a British CD retailer site as well as a supposed release date, June 22. A March release date, as had originally been reported, probably would be too quick, so I can live with the wait. The tracklisting:
1.) 3 Little Words
2.) Better Of As 2
3.) Confusion Girl
4.) When You're Around
5.) Complete Me
6.) Boyfriend
7.) Your Boy
8.) Wonder Woman
9.) Vacant Heart
10.) Done Done
11.) Run Away From Trouble
12.) Olivia
My first reaction was "oh thank goodness, 'Vacant Heart' is on it." My second was "aww, no 'Questionable Times.'"If "Boyfriend" is "Gotta Boyfriend"--and it might not be, I've got no idea--I think I've heard versions of all but "Your Boy" and "Wonder Woman," but that's fine; this is Frankmusik, so much of what we've heard will probably have been tweaked anyway and his album should be made as great as possible, so I can hardly hold him sharing songs with us early against him. Plus, there's always b-sides to look forward to. The kind of but not totally ballad title track is uploaded on Frankmusik's MySpace at the moment and it's worth your time.
I've now had two different lines from Daniel Merriweather's as yet unreleased material running across the top of my blog, if that's any indication of my interest in the soul singer's upcoming Ronson-produced material (though oddly neither from his new proper lead single, "Change"). I adored "Stop Me," so I'm hoping he'll end up with something to rival that cover.
I've been meaning to mention here on the blog and not just in comments elsewhere that I really like "Boys And Girls" and "The Fall" on young British singer Pixie's MySpace. "The Fall" is catchy light-on-its-feet British pop and "Boys And Girls" is a little heavier, with verses kind of influenced by that popular '60's sound, but with a bit of electro-without-actually-being-electro crunch in the chorus to cancel that out; let's put it this way: I'm exhausted of that sound, and I love it, so it's not really in that style. She's got some great songwriters behind her, so hopefully her teen pop will end up with a great year both in quality and commercial success.
While I'm on a MySpace roll, I might as well write about Jasmine Baird, who I've loved for quite some time...once again, since DSTP introduced me to her! I need the full version of "The Truth" like you have no idea. I've got absolutely no idea how to describe it, beyond AMAZING. It's got a huge opening, maybe somewhat '80's a la Cyndi Lauper but modern, too. Listen to it on her MySpace here. I'd really love for it to be her who releases it--it's the sound of a brilliant songwriter and artist creating a new space for herself in the world of pop.
Different is Dangerous's list of 2008's best remixes has me listening to the Designer Drugs remix of Mariah Carey's "I'll Be Lovin' U Long Time" over and over again. It has so much more energy, sparkle, and ...vroom reworked like that.
You know what someone really needs to turn into a proper pop song? "Heavy Leather," this made for TV commercials and shows song. It's got this deep bass groove, kind of a little bit like a Goldfrapp song or Christina Aguilera's "Keeps Gettin' Better" (though it's older than that song). Listen to it in the background of this video clip or this video clip. Someone turn that riff into a real song, please.
Daggers have uploaded a less joyous synth filled ballad to their MySpace. "Death It Feels," "Money," and "Lost In The Distance" are still this synth-pop group's key tracks for me, but when are they going to conquer the world like they deserve to? I'd go groupie for these guys.
Courtesy of Worrapolava, I've been playing Adam Ant's "Playboy" today. I've always loved "Goody Two Shoes" (which was just written about by the much-missed CFB Goes Pop girls), but I think I may feel a proper listen to the greatest hits of his I own coming on soon.
If you're interested in what albums I'm excited about in the coming year, you couldn't do better than read #1 Hits' and MuuMuuse's lists of the albums they're most excited for--together, they cover everything I would have included that we definitely know about (well, I'd probably throw on a few more artists participating in this year's Melodifestival).
The list could go on, but I'll cut it off there for now. Oh, wait, one more thing: Kelly Clarkson's "My Life Would Suck Without You." As I've said elsewhere, I'm nervous about how this song will hold up in the long run for me, but right now I'm playing it a lot. Dan Priddy's electro "The Truth" fits in that same category, though I'm playing it a lot less than the very easy to listen to "My Life Would Suck Without You."
Showing posts with label Mariah Carey. Show all posts
Showing posts with label Mariah Carey. Show all posts
Sunday, January 18, 2009
Monday, April 07, 2008
I brings that levity
I mentioned a few days ago that I know almost no Mariah Carey songs, so keep that in mind when reading my thoughts on her new album--I don't have much frame of reference.
Edit: I just noticed Paul posted a review of the album--I'm off to read it, but I imagine it's definitely worth a read!
The quick way to sum up Mariah Carey's new album, the brilliantly titled E=MC², is this: half amazing, half forgettable. The album contains a series of slow jams that you'll be hard-pressed to remember or distinguish from each other only moments after they've stopped playing, but with the rise of iTunes and mp3 players (or, more old school, with the existence of the skip button), that's no reason you should avoid the E=MC² material entirely.
The album opens with "Migrate," a club banger of sorts--it's not an urban stomper in the vein of something like Usher's "Yeah!", but instead takes its cues from the slinky, seductive, sometimes haunting urban clubby songs that we've heard recently. With its finger snaps and whistle-like effects (and in fact actual whistle note to open the song) and its willingness to use processed vocals, it's a great catchy song that totally manages to get away with its somewhat odd metaphor.
"Migrate" is also one of the four best songs on the album. We run into the second of those four at track five. "Side Effects" is a dark electro-R&B-pop song with some '80's riffs and, though it's not an incredibly huge sounding song, it definitely packs a punch; in a just world it'd be a smash. The lyrics (surprisingly personal and touching, they find Mariah dealing with the fact that "I finally built up the strength to walk away/Don't regret it, but I still live with the side effects") may not register on your first or second listen, but that's not necessary, given that they're only the icing on the delicious-sounding musical backing--an icing that ensures the song holds up to even more plays.
"I'm That Chick," the next song, is easily another of the album's highlights. Upbeat R&B-pop-disco with the drum beat we've come to expect from singers like Ne-Yo, it's a sweet light-hearted girly pop song that sounds meant for sunshine-filled days. Pure pop joy.
Possibly the very best song on the album comes two tracks later, though. Did I just use the phrase "pure pop joy" to describe "I'm That Chick"? Scratch that and move it to here--you could imagine possibly getting sick of "I'm That Chick" if you heard it and too many of its four four drumbeat compatriots over and over again, but it's hard to ever imagine getting sick of the breezy upbeat "I'll Be Lovin' U Long Time." Thank goodness for the album's best track coming as late on the album as it does, though (eighth), because the second half of the fourteen-track-long E=MC² is in desperate need of some perking up. "For The Record," the song used in the commercials for Mariah's perfume, luckily proves itself to be much better than that commercial made it sound; it's not quite as amazing as those top four tracks, but it's a great song and a worthy member of the second tier. The more uptempo "O.O.C." is another track from the second half of the album worthy of a listen, and not just for the comedy language-switching. Beyond those two songs, though, there's not much worthy of report past track eight.
To jump back to the first half of the album, "Cruise Control" and lead single "Touch My Body" are both enjoyable second tier tracks (well, maybe slightly below second tier). "I Stay In Love" is fine, but by the time you reach the end of the album you've heard so many songs that sound like it--"Love Story," "Last Kiss," "Thanx 4 Nothin'," and arguably the two closing tracks "Bye Bye" and "I Wish You Well"--that you've begun to lose patience with all of them.
Let's not end on a down note, though: there are some fantastic songs on this album, and I'd very much urge anyone to give "Side Effects" (honestly, even if you don't usually listen to Mariah, give this song a chance), "I'll Be Lovin' U Long Time," "I'm That Chick," and "Migrate" a listen and, even if I'll be trimming off a few tracks for my own personal playlist, I've found a lot to enjoy on E=MC², enough so that 1.) I may listen to the whole album enough that I could eventually maybe even remember what "Thanx 4 Nothin'" sounds like, and 2.) I hope it does really well for her...and that she manages to get at least two more number ones (and eventually three) with this material.
E=MC² comes out on April 15 in the U.S. and can be pre-ordered here.
Edit: I just noticed Paul posted a review of the album--I'm off to read it, but I imagine it's definitely worth a read!
The quick way to sum up Mariah Carey's new album, the brilliantly titled E=MC², is this: half amazing, half forgettable. The album contains a series of slow jams that you'll be hard-pressed to remember or distinguish from each other only moments after they've stopped playing, but with the rise of iTunes and mp3 players (or, more old school, with the existence of the skip button), that's no reason you should avoid the E=MC² material entirely.
The album opens with "Migrate," a club banger of sorts--it's not an urban stomper in the vein of something like Usher's "Yeah!", but instead takes its cues from the slinky, seductive, sometimes haunting urban clubby songs that we've heard recently. With its finger snaps and whistle-like effects (and in fact actual whistle note to open the song) and its willingness to use processed vocals, it's a great catchy song that totally manages to get away with its somewhat odd metaphor.
"Migrate" is also one of the four best songs on the album. We run into the second of those four at track five. "Side Effects" is a dark electro-R&B-pop song with some '80's riffs and, though it's not an incredibly huge sounding song, it definitely packs a punch; in a just world it'd be a smash. The lyrics (surprisingly personal and touching, they find Mariah dealing with the fact that "I finally built up the strength to walk away/Don't regret it, but I still live with the side effects") may not register on your first or second listen, but that's not necessary, given that they're only the icing on the delicious-sounding musical backing--an icing that ensures the song holds up to even more plays.
"I'm That Chick," the next song, is easily another of the album's highlights. Upbeat R&B-pop-disco with the drum beat we've come to expect from singers like Ne-Yo, it's a sweet light-hearted girly pop song that sounds meant for sunshine-filled days. Pure pop joy.
Possibly the very best song on the album comes two tracks later, though. Did I just use the phrase "pure pop joy" to describe "I'm That Chick"? Scratch that and move it to here--you could imagine possibly getting sick of "I'm That Chick" if you heard it and too many of its four four drumbeat compatriots over and over again, but it's hard to ever imagine getting sick of the breezy upbeat "I'll Be Lovin' U Long Time." Thank goodness for the album's best track coming as late on the album as it does, though (eighth), because the second half of the fourteen-track-long E=MC² is in desperate need of some perking up. "For The Record," the song used in the commercials for Mariah's perfume, luckily proves itself to be much better than that commercial made it sound; it's not quite as amazing as those top four tracks, but it's a great song and a worthy member of the second tier. The more uptempo "O.O.C." is another track from the second half of the album worthy of a listen, and not just for the comedy language-switching. Beyond those two songs, though, there's not much worthy of report past track eight.
To jump back to the first half of the album, "Cruise Control" and lead single "Touch My Body" are both enjoyable second tier tracks (well, maybe slightly below second tier). "I Stay In Love" is fine, but by the time you reach the end of the album you've heard so many songs that sound like it--"Love Story," "Last Kiss," "Thanx 4 Nothin'," and arguably the two closing tracks "Bye Bye" and "I Wish You Well"--that you've begun to lose patience with all of them.
Let's not end on a down note, though: there are some fantastic songs on this album, and I'd very much urge anyone to give "Side Effects" (honestly, even if you don't usually listen to Mariah, give this song a chance), "I'll Be Lovin' U Long Time," "I'm That Chick," and "Migrate" a listen and, even if I'll be trimming off a few tracks for my own personal playlist, I've found a lot to enjoy on E=MC², enough so that 1.) I may listen to the whole album enough that I could eventually maybe even remember what "Thanx 4 Nothin'" sounds like, and 2.) I hope it does really well for her...and that she manages to get at least two more number ones (and eventually three) with this material.
E=MC² comes out on April 15 in the U.S. and can be pre-ordered here.
Tuesday, April 01, 2008
You look good, look good, you're good lookin'
Another post with no theme to it, just various things I wanted to write about (and some of which I even have written about in comments elsewhere), including some I've been meaning to mention for AGES.
Kleerup's new single "Longing For Lullabies" and instrumental b-side "Tower Of Trellick" are available for purchase as 320 kbps mp3s from 7Digital, regardless of your country. I know not everyone loves the song, but I can't help but hugely applaud that decision from him or his record company--wouldn't it be fantastic if ALL artists let you buy their music without any sort of restrictions, be they DRM or country-based (the rest of the world is getting access to this single just as soon as the Swedes are)? I really hope his album has "Thank You For Nothing" on it--I need that song (in good quality).
Speaking of buying things from 7Digital, I'm glad to finally have Gabriella Cilmi's "Don't Wanna Go To Bed Now," which, as I mentioned earlier, I've wanted ever since PopJustice featured a clip of it. It's a great slice of attitude-filled pop-rock with electro-influenced production and a great beat. Her first single didn't leave much of an impression on me, but in my opinion "Don't Wanna Go To Bed Now," which doesn't really sound like "Sweet About Me," is a song very much worth buying (it too is available on 7Digital, though as a DRM-protected WMA; you can listen to a clip via that 7Digital link too, or here). If she ever came up with an album of songs like this, she'd be a fantastic popstar (I didn't buy the full album--I might, but I get the impression it's maybe not something that would appeal to me as a whole; I'm open to hearing otherwise, though).
I LOVE the new single from Michelle Williams of Destiny's Child. Is it odd that her voice alternates between reminding me of JoJo (well, that's probably the vocal effects on it) and Jamelia? Yeah, actually, no one's going to hear that besides me. There's someone else I'm reminded of too, even more so, though I haven't been able to place who yet...anyway, People's website is playing the song in good quality. "Break The Dawn" is a catchy mid-tempo electronically-processed song that I'd be thrilled to see do well in the U.S. Check out The DJ Plays My Favorite Songs for information about the album.
Madonna's new single: I like it. My response to it was kind of like my response to, say, Eve's "Tambourine"--one of those songs that's a lot of fun in a hypothetically-dancing-in-a-club kind of way and that has sound effects that might otherwise be abrasive but work in that context (even if just imagined). Justin's vocals on it are the first time in a long time I've truly loved his voice. It does feel slow now, though, having got used to the tempo of that French radio rip.
I was really looking forward to the new Mariah album--I'm not sure why, given that I think the only songs from her I know are "Always Be My Baby," "All I Want For Christmas Is You," "Whenever You Call," "Hero," and the singles from The Emancipation of Mimi (that's not a result of me ever being anti-Mariah Carey--I've never been--just a function of my total cluelessness about/not paying attention to music until the past couple of years). Oh, and "When You Believe." I've actually had a real urge to "discover" her back catalogue recently, but I have literally NO IDEA where to begin--what albums are her best? Anyway, to get back to what I was originally talking about, I was disappointed to hear that the next single is supposed to be "Bye Bye" (strung together clips of it here)--I was really hoping (and thinking) it was going to be a big uptempo club banger type song. In the good news department, though, I think I'm going to love "That Chick," which she performed recently (see below).
I'm liking the sound of the recently leaked Beyoncé track "Beautiful Nightmare" (apparently a demo)--it's a darker-sounding pop track.
I completely agree with XO and Nick that the latest Guillemots single is worth listening to. That's an understatement--in my eyes, it's the sort of song that in some alternate universe was a massive crossover smash in the UK and the US, winning over everyone of all music tastes, instead of just getting to a respectable #20 in the UK a few weeks ago. It's a pop-with-guitars track that literally could not be any catchier or any more fun to sing along with. If you've missed it until now, you HAVE to listen to it. One of the best songs of the year, without doubt. I've not bought the album yet, but it's definitely on my to-get list.
I know I mentioned recently that Dirrrty Pop reviewed Taio Cruz's album, but have I ever mentioned on here how much I like the electro-R&B "Come On Girl"? I don't think so, mainly because it's been featured on other well-read sites and so I figure most people probably know about it already. Well, I love it, at any rate, and thought both of the songs Jessica posted, "Fly Away" and "I'll Never Love Again," were fantastic; I'm now really really close to buying his album and probably will do so.
#1 Hits is having "Pop Week" and, though the blog's always a must-read (Nick does an amazing job of finding amazing songs no one else is writing about), I really can't encourage you enough to check it out during this week. I've already played Monday's song, "Disco Bloodbath," a bunch of times.
Speaking of blog recommendations, Don't Stop The Pop (which just reviewed this group's showcase), FizzyPop, Popjustice, and ArjanWrites-back group Red Blooded Women has me really excited--I can't wait to (someday, hopefully!) buy Yaz-sampling pop song "Colour Me Dirty." Speaking of Yaz samples (where Heidi Montag leads, as I'm sure D'luv would point out), the clip of the Yaz-sampling song from another hyped girl group, the Saturdays, that was on the members' MySpaces a little while back sounded good too; it's at least got me interested to hear the whole thing.
Also, Morten Harket of a-ha has a new single called "Darkspace" coming out soon (on Norwegian radios in the next few days and for sale on April 7), with an album out May 19. I really want to like "Darkspace" (I would've liked to like the album's first single, but I sadly didn't), so hpoefully the apparently uptempo, rocky track is a good one. We'll see, I guess.
Edit: oh, and also, Britney's "Break The Ice" is BRILLIANT, but that's a given and I've liked that since the album came out last year--the track hasn't lost any of its shine since then, though.
Kleerup's new single "Longing For Lullabies" and instrumental b-side "Tower Of Trellick" are available for purchase as 320 kbps mp3s from 7Digital, regardless of your country. I know not everyone loves the song, but I can't help but hugely applaud that decision from him or his record company--wouldn't it be fantastic if ALL artists let you buy their music without any sort of restrictions, be they DRM or country-based (the rest of the world is getting access to this single just as soon as the Swedes are)? I really hope his album has "Thank You For Nothing" on it--I need that song (in good quality).
Speaking of buying things from 7Digital, I'm glad to finally have Gabriella Cilmi's "Don't Wanna Go To Bed Now," which, as I mentioned earlier, I've wanted ever since PopJustice featured a clip of it. It's a great slice of attitude-filled pop-rock with electro-influenced production and a great beat. Her first single didn't leave much of an impression on me, but in my opinion "Don't Wanna Go To Bed Now," which doesn't really sound like "Sweet About Me," is a song very much worth buying (it too is available on 7Digital, though as a DRM-protected WMA; you can listen to a clip via that 7Digital link too, or here). If she ever came up with an album of songs like this, she'd be a fantastic popstar (I didn't buy the full album--I might, but I get the impression it's maybe not something that would appeal to me as a whole; I'm open to hearing otherwise, though).
I LOVE the new single from Michelle Williams of Destiny's Child. Is it odd that her voice alternates between reminding me of JoJo (well, that's probably the vocal effects on it) and Jamelia? Yeah, actually, no one's going to hear that besides me. There's someone else I'm reminded of too, even more so, though I haven't been able to place who yet...anyway, People's website is playing the song in good quality. "Break The Dawn" is a catchy mid-tempo electronically-processed song that I'd be thrilled to see do well in the U.S. Check out The DJ Plays My Favorite Songs for information about the album.Madonna's new single: I like it. My response to it was kind of like my response to, say, Eve's "Tambourine"--one of those songs that's a lot of fun in a hypothetically-dancing-in-a-club kind of way and that has sound effects that might otherwise be abrasive but work in that context (even if just imagined). Justin's vocals on it are the first time in a long time I've truly loved his voice. It does feel slow now, though, having got used to the tempo of that French radio rip.
I was really looking forward to the new Mariah album--I'm not sure why, given that I think the only songs from her I know are "Always Be My Baby," "All I Want For Christmas Is You," "Whenever You Call," "Hero," and the singles from The Emancipation of Mimi (that's not a result of me ever being anti-Mariah Carey--I've never been--just a function of my total cluelessness about/not paying attention to music until the past couple of years). Oh, and "When You Believe." I've actually had a real urge to "discover" her back catalogue recently, but I have literally NO IDEA where to begin--what albums are her best? Anyway, to get back to what I was originally talking about, I was disappointed to hear that the next single is supposed to be "Bye Bye" (strung together clips of it here)--I was really hoping (and thinking) it was going to be a big uptempo club banger type song. In the good news department, though, I think I'm going to love "That Chick," which she performed recently (see below).
I'm liking the sound of the recently leaked Beyoncé track "Beautiful Nightmare" (apparently a demo)--it's a darker-sounding pop track.
I completely agree with XO and Nick that the latest Guillemots single is worth listening to. That's an understatement--in my eyes, it's the sort of song that in some alternate universe was a massive crossover smash in the UK and the US, winning over everyone of all music tastes, instead of just getting to a respectable #20 in the UK a few weeks ago. It's a pop-with-guitars track that literally could not be any catchier or any more fun to sing along with. If you've missed it until now, you HAVE to listen to it. One of the best songs of the year, without doubt. I've not bought the album yet, but it's definitely on my to-get list.
I know I mentioned recently that Dirrrty Pop reviewed Taio Cruz's album, but have I ever mentioned on here how much I like the electro-R&B "Come On Girl"? I don't think so, mainly because it's been featured on other well-read sites and so I figure most people probably know about it already. Well, I love it, at any rate, and thought both of the songs Jessica posted, "Fly Away" and "I'll Never Love Again," were fantastic; I'm now really really close to buying his album and probably will do so.
#1 Hits is having "Pop Week" and, though the blog's always a must-read (Nick does an amazing job of finding amazing songs no one else is writing about), I really can't encourage you enough to check it out during this week. I've already played Monday's song, "Disco Bloodbath," a bunch of times.
Speaking of blog recommendations, Don't Stop The Pop (which just reviewed this group's showcase), FizzyPop, Popjustice, and ArjanWrites-back group Red Blooded Women has me really excited--I can't wait to (someday, hopefully!) buy Yaz-sampling pop song "Colour Me Dirty." Speaking of Yaz samples (where Heidi Montag leads, as I'm sure D'luv would point out), the clip of the Yaz-sampling song from another hyped girl group, the Saturdays, that was on the members' MySpaces a little while back sounded good too; it's at least got me interested to hear the whole thing.
Also, Morten Harket of a-ha has a new single called "Darkspace" coming out soon (on Norwegian radios in the next few days and for sale on April 7), with an album out May 19. I really want to like "Darkspace" (I would've liked to like the album's first single, but I sadly didn't), so hpoefully the apparently uptempo, rocky track is a good one. We'll see, I guess.
Edit: oh, and also, Britney's "Break The Ice" is BRILLIANT, but that's a given and I've liked that since the album came out last year--the track hasn't lost any of its shine since then, though.
Subscribe to:
Posts (Atom)
