Eurovision: You Decide (2016)

Written 27th February 2016.

It's that time of year again, folks - time for us to choose our Eurovision entry. The last time we actually did that was a whole six years ago - and, as it happens, I discussed that car-crash of a show then, too. As with all of Nostalgia Filter's up-to-the-minute breaking news, I've decided to discuss the program, half to carry on the proud tradition I kind-of began all those years ago and half to vent about the current state of the UK's position in the content and the BBC's misguided attempts to put us back on the right track.

Dulcima - "When You Go"

Posh hippy bohemians with a full band of folksy instrumentalists, Dulcima were a duo composed of singers Dulcima and Thomas, the latter of whom wrote the song. The actual song was fairly upbeat and catchy, with the central melody still stuck in my head afterwards, even if the words disappeared into the sort of slurring high-pitched chirping employed by the likes of the Lumineers. The song ends with a nice little anthemic bit which would probably go down very well in the hall in Stockholm - but folksy acts play all the time at Eurovision, and not a single one has ever won. There's definitely an image problem that the two bring to the table - Macedonia can get away with presenting their local flavour, but if we do it looks a bit like we don't really care. 6/10.

Matthew James - "A Better Man"

My instant least favourite of the six songs, A Better Man is by Matthew James, former lead singer of "Bad Boys Inc", a boyband who broke the UK Top Ten once in their whirlwind two-year existence in the mid-Nineties. Because of this, James' vocal style sounds very much like pre-breakup Take That and feels like an instant throwback of the kind that sank the UK's chances in 2007 and 2010. Employed with creating a bastion of positivity (something which happened in 2010 as well, unfortunately), the judges tried to make out how "intimate" and "well-crafted" the song was - even as it was obvious (thanks to several repetitions during the voting recaps) that James was consistently out of tune throughout the song. 4/10.

Darline - "Until Tomorrow"

"Until Tomorrow" is a folksy pop song by young duo Darline, two girls with beaming smiles, the slight air of charming amateurism and acoustic guitars. There were some countryish vibes, which always go down well at Eurovision (well, recently anyway), and a great deal of quite good harmonization from the pair. It feels like a Eurovision song, and it felt like a song that would give the UK credibility in the way that Molly did in 2014. Darline was the act I voted for, and I was really, really worried that they wouldn't do well - but most of the feedback from the judges, at least, was fairly positive, with former winner Katrina noting that, "this is the kind of song that Europe would vote for." 9/10.

Karl William Lund - "Miracle"

Karl was a minor YouTube celebrity five years ago, and his song "Miracle" is about his brother's battle with cancer. I think some of the vocals are a bit shakey, but it is catchy (I'm writing this a day later and it's the main one stuck in my head) and I can imagine it representing us in Stockholm. Miracle seemed to get the biggest reaction last night, and the fact that Lund doesn't need much work doing on his look meant that it kinda felt like we had a pre-built package to send to Sweden. It wasn't my favourite song of the night, but I wouldn't have been sad if it had won. 8/10.

Bianca - "Shine a Little Light"

Quite possibly the bookie's favourite, Bianca, like Matthew James, was a member of a girl group, but that group disbanded last year rather than twenty-one years ago. Bianca has a contemporary sound with elements of light reggae and vocals that are very evocative of one the song's writers, Leona Lewis. Shine a Little Light is a classic Eurovision power-ballad, and yet another song which would have gone down a storm in Stockholm. Bianca's strange red gown with train needed a little bit of fashion advice, but even that was a sign that she was the correct choice to send to Eurovision. I chose Darline because I personally enjoyed their performance more, but like Karl William Lund, I still would have been pretty chuffed if Bianca had been elected. 9/10.

Joe and Jake - "You're Not Alone"

And finally, the first song of this sextet that was released last Monday on the Ken Bruce BBC Radio 2 morning show. Joe and Jake are "musicians" who became "famous" by both being on the 2015 series of The Voice UK, something true of one-half of last year's outfit Electro Velvet (with the qualifier that these guys actually got through into some stages while she was rejected completely.) You're Not Alone is not a bad song - it has a... let's say "modern" sound and it doesn't sound completely out of place at Eurovision. The two lads are enthusiastic about their song, but their live performance left a bitterly amateur taste in the air, and their "singing in the pub on the corner" aesthetic meant that I really wasn't impressed. It's a mediocre combination of stuff - I've heard several different descriptions of the two lads - I especially love the Telegraph's "Two fifths of an alternate universe One Direction." 5/10.

The Show Itself

It did feel like the producers of this show were taking things more seriously, even if there were some good jokes in their from mel Giedroyc. The whole show was plagued by technical issues throughout, which did worry me slightly, with the ghostly voice of Scott Mills occasionally announcing Mel's presence on stage half-way through her monologues and the amazing moment when Katrina's microphone distorted into some satanic-sounding blur. The interval acts during the voting and the voting tally were a tribute to the late Terry Wogan, a performance of "Love Shine a Light" from Katrina's winning 1997 contest and, bizarrely, a montage of the best moments from the BBC's 60th Anniversary Eurovision tribute broadcast in April last year.
      One thing I wish they'd scrap is the whole endless positivity crap, because other European countries who do these types of shows don't do that. Why? Because it produces crappy songs. This was one of the few times where endless positivity-producer Carrie Grant, vocal coach and former Eurovision singer, actually tried to produce some constructive criticism, but was so booed by the crowd that she didn't really get a chance.

Final Result

In 2015, we sent an amateur singer and a primary-school music teacher to Eurovision. In terms of points, they achieved the United Kingdom's worst score since nul points in 2003. The British public voted, and decided this year to send a PE Teacher and a former Garden Centre employee. Joe and Jake, two amateur singers who happened to be on The Voice, are going to be our representatives in Stockholm. I can't say I'm not disappointed, but I guess that's what happens. Let's just look forward to Stockholm and hope that Europe like our lads.

Thanks.

Eurovision 2015 - My Top 12

So I have this blog tag called Eurovision which I used all the way back in 2010 to discuss our national selection process, and I did so with some fairly unpleasant words at that. I really shouldn't have, because Eurovision is about coming together as a continent to do something relatively fun and frivolous. If I liked it then I love it now, and actually spend a lot of time listening to all of the songs. It's my equivalent of watching sports or racing, but with a fantastic blend of camp performances, great music and the lingering stain of sixty years' international politics. So here, in a rough order, are my top 12 songs of the 40 from this year. (I love them all, I'm just organising them for funsies.)

12 -  Hungary - "Wars for Nothing", Boggie

Do you know our earth is a mess
All the wars for nothing, it never ends

Singer Boggie reached international aclaim (apparently) after her video for the song, "Nouveau Parfum", which acted as a protest against the retouching of women in magazines and the draconian standards of beauty created by the media. This time she presents a ballad (the first on this list of a large selection of ballads this year) which acts as a cry-out for peace, a common Eurovision topic of choice. Boggie's got a great voice, and while I'm not sure "Wars for Nothing" is a winner, it's really quite pleasant and easily makes this list.

11 - Lithuania - "This Time", Monika Linkyte and Vaidas Baumila

My God, stop for a minute and think
How about we just go out for a drink?

Monika Linyte has been trying to represent her country every year since 2010; she in fact competed against fellow singer Vaidas Baumila in last year's selection. Together they present an upbeat pop song with some catchy lyrics. And a pretty cool drop. I do hope that these two see some success this year, what with how long Linkyte has been trying to reach this point, but that's a story true of a few other artists this year too.

10 - Latvia - "Love Injected", Aminata

Your love revives my soul
And I know you’ll choose it whole overall

With FKA-twigs style verses on top of a Florence-esque chorus, Aminata pours out a great chunk of her soul into "Love Injected". An economics student (and prospective pop star), Aminata's got great style and despite how strange it may seem to the modern contest, I think it could be a real contender if the wind is in the right direction. Better than last year's "Cake To Bake" anyway, as fun as that was.

9 - Austria - "I Am Yours", The Makemakes

You’re what I belong to, the one thing that feels true
Everything I could ever want

The defending champions, following up Conchita Wurst's impressive bond-theme "Rise Like A Phoenix", have chosen young band The Makemakes and their love song "I Am Yours". Aside from the obvious Jason Mraz comparisons, the song is actually quite sweet, sincere and catchy to boot. It's near impossible for Austria to win twice in a row, but The Makemakes are pretty cool and you really couldn't ask for a better act in the "probably won't win" slot. (Well, one of the "probably won't win" slots.)

8 - Germany - "Black Smoke", Ann Sophie

Two hearts are left to burn, do you know
We’re only left with smoke

My second entry from the seven entries that are automatically going through to the final, Black Smoke is a jazzy number from London-born Hamburger Ann Sophie. Written by the fantastic Ella Eyre (whose album I've been waiting for since Christmas 2013 and which won't land until August of this year. It feels odd to me, because I never would have heard about her involvement in Eurovision had the actual winner of Germany's selection program "Unser Song für Österreich" not dropped out when he was announced as winner. Questions about whether he was right to even be in the running aside, I'm glad that this song ended up being Germany's instead of yet another goddamn ballad.

7 - Norway - "A Monster Like Me", Mørland & Debrah Scarlett

To find the prince you thought you found in me

I better set you free and give you up

This one had to grow on me first. As a song on its own, Norway's "A Monster Like Me" is a fairly nice ballad, balancing Mørland's quiet poignancy with Debrah Scarlett's frankness and power. It's also got a video which becomes really quite odd at the end. Other than that though I'm struggling to have a lot to say about it - it really did sneak up on me, but of all the other dry ballads this year, this is the one which has managed to stick in my head.

6 - Belarus - "Time", Uzari & Maimuna

Time is like thunder ah-ah
Hear it like thunder ah-ah

Uzari is a Belarusian singer who's been working with Eurovision for five years, this being his first time in the hotseat. Maimuna is a Russian-born violinist who grew up in Belarus and Mali. Together they've released "Time", a song whose catchy chorus and epic verses describe the inevitability of the passage of time. Belarus' last two entries (trashy "Solayoh" and cheeky "Cheesecake") didn't have half this much class and energy, and I actually do hope that this a contender - if only for Maimuna's fantastic violin score.

5 - United Kingdom - "Still In Love With You", Electro Velvet

Don't get on the wrong train, don't fly in an old plane

Don't go out in the pouring rain, you might get wet; I'd be upset

Here in the UK it's easy to just give up on the hope of ever winning the contest. After Josh Dubovies painful entry back in 2010 put a dampener on our 2009 success, we've sent a succession of old acts with little success. Last year I was convinced we had a chance thanks to Molly and her catchy anthem "Children of the Universe", but no luck. This year, instead of finding a popular singer, the BBC appointed Electro Velvet, a primary school music teacher and a reject from last year's series of The Voice UK. Together they perform Still In Love With You, a jazzy, fast paced pop song which either plays on the stereotype of British uptightness or is just cheesy as hell. Either way, I keep finding myself humming along to it, prepared as I am for it to fail completely.

4 - Denmark - "The Way You Are", Anti-Social Media

Summer's here, winter's gone
Finally I can see the sun
Every time you walk in to the room

Fresh off their hosting last year's contest, Denmark's made-for-the-contest band Anti-Social Media presents us with a fantastic, upbeat love song of the sort that ends up being quite popular at the contest. It's really catchy, the guy at mic isn't bad looking and in last year's contest, this would have been one of the high-flyers. I'm a little conflicted on its chances this year, however, as I can't help but wonder if the sheer number of ballads shows that Europe's tastes are moving away from this sort of song. For me though, this is a serious contender, and I hope it comes somewhere high.

3 - Estonia - "Goodbye to Yesterday", Elina Born & Stig Rasta

I didn't wanna wake you up,
my love was never gonna be enough,
so I took my things and got out of the way now, girl

Last year, The Netherlands submitted the amazing "Calm After The Storm". While that had more of a country vibe, this year's Estonian entry certainly follows in its spirit, and of all the love duets on this list it's by far my favourite. This was the song that stuck in my head the first time I skimmed through all of the songs, and I found my self humming the tune to it back in March before I'd even seriously thought about this year's selections. It's a beautiful song, it's catchy-ish, and it might be a contender. Might.

2 - Belgium - "Rhythm Inside", Loic Nottet

And if we die , tomorrow
What’ll we have to show
For the wicked ways, down below
The rhythm inside is telling us

Okay, so there's been some talk that this song rips off Lorde, and I can certainly see where they're coming from - the beat certainly takes after "Royals" in its pacing - but I'm not really ready to use that to tar the song. Inbetween ethereal yet sinister verses, Nottet delivers a powerful and aggressive chorus that gets me singing along every time. It's surprising to me that a song that feels this avant-garde is coming from a runner-up on The Voice Belgique, but I'm glad that this guy has had the chance to submit a song like this. It just goes to show that despite all the ballads that this year's given us, Eurovision can still provide some interesting music.

1 - Australia - "Tonight Again", Guy Sebastian

This is one tough act to follow
Oh baby tonight’s so good
Forget tomorrow
We can do tonight again

What the hell is this? Australia is literally on the other side of the planet to Europe, how can it be part of the Eurovision Song Contest? I'm more okay with it than I sound - as a one-off arrangement for the 60th Anniversary, Australia gets to field an act in the finale, with the agreement being that they can only return next year if they win. So of course they sent Guy Sebastian, an actual pop star dude in Australia whose soul-infused "Tonight Again" has been stuck in my head for weeks. Sebastian manages to embody a lot of things in one song - he's got soul chops and he's the life of the party. I just love this song, and I actually hope it wins - if only to shake Eurovision up a bit and show that maybe this guest thing can work again in the future.

Thanks.

Josh: Music: The 2nd Law

Also comes in vinyl edition?!

"A Christian gangsta rap jazz odyssey, with some ambient rebellious dubstep and face melting metal flamenco cowboy psychedelia." Matt Bellamy on 'The 2nd Law'.

Only Muse, the alternative rock band from Devon, could base an album on the second law of thermodynamics. The band's interest in science and willingness to experiment with other musical genres has produced 'The 2nd Law', a possible replacement for my favourite Muse album over 'The Resistance' (which Smith has reviewed previously). Here's some analysis of all thirteen songs on the album;
     1) Supremacy - like something straight out of an action film, perfectly suited for James Bond, we have a exciting, vibrant start to the album that you can't stop yourself from rocking.
     2) Madness - I've adored this song ever since its released. It's obvious attempt to experiment with genres works. It's catchy and generally just an enjoyable song. One of the best by far on the album.
    3) Panic Station - Another different style to Muse that has a great use of guitars and is one of the more upbeat songs. It's riff is funky and easily loveable, its use in the introduction hooks you immediately.
     4) Prelude - a wonderful little piece of music that's pleasantly orchestrated and could be listened to time and time again with a smile on your face.
     5) Survival - uplifting and a truly fantastic joy to the ears. The voices are key here to its brilliance, Matt Bellamy's falsetto is something I continue to love. The riff's excellent, the instrumental mesmerising. Fits nicely after Prelude.
     6) Follow Me - the dubstep bass is a nice surprise after the intriguing slow beginning to the song. Though the said was opening was nicely calm. One of the few that you might forget about though.
     7) Animals - the song feels very much like Muse's original style and doesn't keep in touch with the experimental aspect to the album. Its not a bad song, just its average, slightly disappointing and could be much better. The weird ending is pretentious and ruins the experience.
     8) Explorers - a similar opening to Follow Me but the cute tinkling in the bass puts you into a trance of happiness. I don't have a real stance on this one. Is it trying too hard? Is it just enjoyable?
     9) Big Freeze - its joyous, yes, but it sounds very samey to me. Its definitely not an immediate favourite, nothing really jumps out as really likeable. It's quite an average song for such an album.
     10) Save Me - who knew Chris Wolstenholme (bassist) had such an overwhelming voice. There's great instrumentation and its all very upbeat but the unexpected vocals from Wolsetenholme are steal the show. They're fantastic.
     11) Liquid State - very well written alike Save Me (both by Wolstenholme). More of Wolstenholme's bloody good voice. It's heavy in a cool way. You just want to rave to it.
     12) The 2nd Law: Unsustainable - one of the most experimental and best songs on the album. The beginning might remind you of Resistance's Exogenesis Symphony but the cinematic soundtrack feel with dubstep overtones sees a strange yet beautiful blend of genres.
     13) The 2nd Law: Isolated System - not as good as Unsustainable by a long shot. Still, the use of news broadcast audio bytes is clever and it summarises the album's themes in a reasonably good song.

Breaking the mould of alternative rock

     The 2nd Law is simply just incredible. The beginning and the end of the album dominate the middle in terms of brilliance. It also acts like a yo yo, moving from light, soft and cheery sounds to heavy, bass-filled rock. It's a contender to beat the Resistance in terms of the quality of music. Muse are clever with the themes they use for albums. They use themes that can relate to the world we currently live in. The idea of the 2nd law of thermodynamics (energy is running out) creating fear within the human race is a concept that's believable considering the world we have.  Exploiting and analysing these concepts in wonderful lyrics fitting with higher quality instrumentation is utter brilliance yet something Resistance also brought us. The experimentation in this album is what makes it significantly more adventurous and interesting to listen to than its predecessor. The use of dubstep and other genres is excellently mastered. Matt Bellamy's writing talents and stunning vocals are better than ever. Then, we had the magical experience of meeting Chris Wolstenholme's brave writing about his alcoholism and his glorious voice. That being one of the better, more enjoyable surprises of the 2nd Law. Though its very different in its style to Resistance the middle section of the album feels too familiar. The songs best recommended from myself are; Madness, Survival, Supremacy, Unsustainable and Wolstenholme's two songs. It may take a couple of listens for it grow on you on because of Muse's huge diversion in genre, feel and instrumentation but it's a highly enjoyable album that will probably become my favourite out of all of theirs. An album definitely worth the wait. Intensely innovative and intelligent, the 2nd Law is a triumph that the men from Muse should be proud of.

Genius.
Thanks, Josh.

Review: PSY - Gangnam Style

Forgive me. Written without much better to do 24/9/12.


 Let's talk about K-Pop. Specifically, a new meme related to an incredibly energetic and weird video, for the PSY song "Gangnam Style". The song's appeal to the Western audience comes from the fact that the absurdity and humour in the video matches our expectations of a "weird" Eastern culture, with silly dance moves, clothes and a series of ridiculous lyrics. The question that must immediately come to mind is a rather simple one. Is Gangnam Style attempting to parody the execesses of both Western and Eastern pop music, or is it really being serious and has simply used Western influences to make their music appeal to a mass audience?
     I think it's important to take a look at what this most resembles in the Western market, and that would have to be the horrendous LMFAO, whose songs seem to be as deliberately as bad as possible in a kind of lazy attempt at irony that instead just produces painfully bad music. The beat of the song is immediately similar to their magnum opus Sexy and I Know It, and the video features similar imagery (albeit in a different cultural setting). From external appearances, Gangnam Style is LMFAO's perfect replacement - the same hypnotic, lazy pop beats without any of the unpleasantness that comes with their revulsive attitudes.
     But, like it or not, PSY is much cleverer than that. Their lyrics talk about wanting a girl who can appreciate time to relax and drink some good coffee, who advertises himself as a man who can "one-shot" his cups before they've cooled. It's a mixture of humour and genuine poetry that both parodies Western music and its banal excesses, but also offers a replacement. Those who understand/look up the lyrics get the intended meaning, while the rest of the world can enjoy it as a more savoury pop treat as well as being awed by their crazy aesthetic style. What it has done, when push comes to shove, is not just create a long-lasting meme, but has also introduced a large group of new people to an entire genre of music.
     Good on you, PSY. Keep doing it Gangnam Style.

Thanks.

Review: Born To Die

Born To Die - Lana Del Ray (2012)
Written 2/7/12

Lana Del Ray, after her rather odd first album, reinvented herself into the image of 50s Americana. Since then, her first album was hyped to buggery and back, and thus it came as something of a shock when her album didn't really live up to expectations in the quality department. Sure, Born To Die isn't terrible, but it does harbour some horriffic problems with its themes and it's main concept. This grandiose image of being the naughty seductress who bathes in the hedonistic American Dream doesn't just fall down, it cascades when it even touches reality. Soon, Del Ray's blatant product placement reads more like bad American rappers than high-quality ballads.
      It's paradoxical that the album's greatest folly is also it's greatest strength, steeped in a thick atmosphere of Americana indulgence. In certain areas this works absolutely fine; the lead song Video Games is by far the best on the album, with it lax, floating lyrics sounding absolutely heavenly. It's where the newly invented Lana tries to boast about other things that it does get a tad irritating. She was born in New York and attended a boarding school; her college degree was in Metaphysics. For this reason, I find it very difficult to get behind this image of a girl living on the edges of society. At the same time, without that, the album wouldn't be as unique and/or powerful as it can be.
      What can be said is that even though most of the lyrics and themes are total hogwash, the songs themselves are infective. Of note are the aforementioned Video Games, the sultry Blue Jeans and the satirical National Anthem. This is mainly due to a collaboration between Del Ray's enchanting coltralto vocals and some decent songwriting, which manages to get across this potent Americana theme while still producing great hooks. The only true duds are Off To The Races, which is just annoying with its disjointed lyrics, and Summertime Sadness, whose chorus is repetitive and irritating.
      Something about Born To Die just rubs me the wrong way, but I don't know what it is. It could be overplay, it could be the silly arrogance of the lyrics, presenting a character that affects my suspension of disbelief. Or it could be sheer disappointment at the sheer cynicism of the whole exercise. We're living in terrible economic times, we don't want musical movements returning to times in which, funnily enough, everyone's quality of life was even worse. I'd still recommend it for the simple fact that it's become such a movement, but it's not something that I'll be revisiting with ease.

Addendum
Written 4/7/12

What am I talking about? I love this album! Or, rather, I have a much more love/hate relationship with it than I previously claimed. So what if the lyrics make me cringe, and every little mention of her "edgy" lifestyle makes me want to tune out? Fundamentally, this is some very, very well made music. It's seriously catchy, and there's a lot of satire in some places, especially in National Anthem, which mocks America's preoccupation with wealth as much as the rest of the album glorifies it. At times I can't appreciate this; there's too much cynicism in the album for me to totally love it all the time, but while I do like it, I have to defend it from my own harsh words.
     Born To Die is a fun album, and it certainly tears me based on what's going on in the moment. The lyrics are total and utter bullshit half the time, but the musical underlay is both incredibly catchy and richly atmospheric. There's so much to love, and so much to hate, but in the right mindset this album is perfect. It's just that kind of album; she's just that kind of performer.

Thanks.

P.S. This is why I don't do music reviews as often as I used to...

Review: Electra Heart

Sometimes I do music reviews. Written 29/6/12.
Electra Heart - Marina and the Diamonds (2012)

I loved Marina Diamandis's first album. I really did; there was an experimental theme to her first album. It was cheeky, it was satirical and it felt very different from everything else out there. The singer's sophomore album seems to form part of a recent trend in satirising and glorifying Americana, alongside artists like Lana Del Ray. While it's certainly bad by no stretch of the imagination, the album does suffer from problems on both a conceptual level and on a song-by-song basis. It feels as if the originality presented by the original album has been channelled into this theme, and it really hasn't payed off.
     The biggest change is the move into mainstream pop and electronica, which while still keeping hold of Diamandis' characteristic charm, is a lot more brash and forgetable than the indie waves of the first album. This ties into the theme of the album, which is supposedly a Greek-style tragedy set in 70s Americana, "an ode to dysfunctional love." The main problem with that is that "dysfunctional love" isn't a very original concept, and only a few of the songs on the album adhere to that original concept. The result is an album that flickers between vindicative, personality-driven ballads and standard pop ditties.
     And then, on a ground level, there are... issues. Simple little things here and there just throw the whole thing off kilter: the horrendous spoken verses on Homewrecker, the obnoxious double rhyme of role on Starring Role. The more conventionally structured songs don't take advantage of Diamandis' vocal talents, and the songs end up being a mix of annoying and generic. That's not to say that there aren't any good songs on the album, of course. I love the pace and energy of the hedonistic Primadonna, the raw emotion of Fear and Loathing, and the slightly demented yet incredibly catchy Radioactive, which was released in promotion of the album and yet only appears on the Deluxe edition. The best song on the album for me is probably Fear and Loathing or Teen Idle, which manages to act as a perfect balance of both of Diamandis' styles past and present.
      However, on a base level Diamandis continues her wonderful brand of irony and satire and the album is well produced. On a few songs there are some crippling problems, and the main theme of the album, which I can tell she worked on, doesn't really shine through in the way it was intended to. I suppose that ultimately any unpleasantness caused by the album is really a sign of its cultural success; as a tale that warns against the excesses of pop culture and the danger of hubris, it has certainly made a mark upon its fans.

Thanks.

Josh: Music: Submarine

Alex Turner promotes 'Submarine'

Submarine is a beautiful film and part of its beauty comes from it's soundtrack. When it came down to music for this British made film, none other than Alex Turner was acquired for the job. The Arctic Monkeys lead vocalist, guitarist and main songwriter managed to produce six original songs for Submarine and the following is my opinions on how effective the album was in relation to the film and in general.
     The Submarine soundtrack is a combination of five unique pieces of music with the exclusion of the dreamy introductory theme. All the songs are consistent in style and all share a woozy feel which fits well with the dewy-eyed romantic sequences of Oliver and Jordana's 'lovemaking'. There is a superb focus on knotty, absurd lyrics that are tailor-made as pathetic fallacy for running events on screen.
     With underplayed, soft sounding instrumentation and the quirky magical tone to Turner's voice there isn't much going wrong for the music of this film. The best songs of the bunch have got to 'Piledriver Waltz' and 'Stuck on the Puzzle' which are colourful, swooning pieces which expose the qualities of Turner's guitar skills and the genius of his lyrics. The lyrics themselves cleverly relate to events on screen and are powerful on their own, the emphasis added with Turner's purr in voice is soothing. Also, Stuck on the Puzzle sticks out compared to the other songs with it's catchy rhythmical beat at the beginning and more modern feel. Whereas the rest of the album feels like one suite of music piled together as the four other tunes are very alike in their melody and exposition.
     Though the songs sound similar when listened in one go they do all still have their mark and are special in their own way. Submarine's soundtrack is a mix of folky, romantic-esque songs that dreamily drift to set the scenes and bring another aspect of vibrancy to this already outstanding piece of art. Alex Turner is a very clever man and deserves to be given all the praise available for such a inventive, colourful collection of brilliantly, unique songs. Job well done.

Thanks, Josh.

P.S. You can see my review of 'Submarine' from last week here.

List: The Top Five Songs I Hate (At The Moment)

You all know that here at Audenshaw Reviews I like to keep things positive (with a few exceptions). I don't like pain, and so I try to avoid reviewing anything that's actively or offensively bad, but I can't help but find these things in daily life. Especially in the horrendous modern music scene. So here, to apologise for my lack of posts due to illness, are my least favourite five songs in the charts, or about to enter the charts, at the moment.

5.) Party Rock Anthem - LMFAO ft. Lauren Bennett and Goonrock




Not all of the songs on this list are wrong, offensive or necessarily bad. I'd never heard of the brashly named LMFAO before this rather quite clever song, and I probably won't hear of them again. The video is very clever, and the song does fit its purpose as a dance track, as the nearly eponymous title suggests. However, you didn't read this article to here why I liked these songs.
     The simple fact is that this song is on every UK music channel at several times throughout the day. It's on the mainstream radios, it's on soaps and on supermarket song-systems. And, being a dance song, it's fairly repetitive. To make a long story short; I'm sick of it. I'm sick of hearing it, I'm sick of hearing about it. It's the Number One at the moment, and like many other tracks before it it suffers from crippling over-playing. I never, repeat, never want to hear this song ever again.

4.) Wonderman - Tinie Tempah ft. Ellie Goulding



Ah, Ellie. I've reviewed some of her music before; in my last review I was wondering whether she was heading in the wrong direction, trying to feed the populist market after her less than stellar chart history. Here she proves my point exceptionally by lending her talents to the modern British superstar, Tinie Tempah.
     I don't usually find Mr.Okogwu so offensive; I actually liked his two Number Ones, "Pass Out" and "Written in the Stars." They weren't perfect, by any means, but they were well constructed and pandered to the modern chart-music audience. Here, however, Okogwu decides here to simulatenously boast and whine about his newfound fame in a song disguised, at least in the chorus, as one about a comic-book superhero down on his luck. Apparently his main advice is that, "when the fans start grabbing you, Show gratitude with a little brag or two." Need I say more?
     Also, the video gives us no context as to exactly why blowing up a building is a heroic act. Could be an arsonist for all we know. Luckily enough, the structure of the song is decent enough and it's perfectly listenable... if you don't focus too much on the lyrics.

3.) On The Floor - Jennifer Lopez ft. Pitbull



It was Number One over here, guys. Pitbull. This walking insult to modern pop music releases a song with a washed out popstar, and the wise people of the UK decided to put it to number one, giving a boost to both of their careers.
     The song's lyrics are, of course, vapid and empty. This is a club song, a song mass-produced for no other purpose than to facilitate the gyrations of several drunk and sweaty people in dark, expensive night-clubs across the country. I think we can all accept that this is not a song that starts out with any reputation for musical integrity. I think what clinches the real hatred for me is the crippling repetition of the main verses, which make it often akin to fingers drawn down a blackboard.


2.) The Lazy Song - Bruno Mars 


I'll say it now; I thought Bruno Mars was actually quite a promising star when he appeared onto the British Charts in the Summer of 2010. He wasn't annoying, and his songs felt like genuine, modern love ballads with some real point to them. His collaboration with B.O.B, "Nothin' On You," was a favourite of mine during the summer, and felt like the best love song the other side of the Pond had produced in quite a while.
     Then, for some reason, Mars released "Grenade," a whiney song whose hyperbolic, logic-bomb melodrama made it unbearable. It wasn't, however, particularly hateful, unlike this entry. The Lazy Song is cocky, arrogant and irritating, taking an appropriately laidback track and inverting it with lyrics so horrible that they beggar belief.


Tomorrow I'll wake up, do some P90X
Find a really nice girl, have some really nice sex
And she's gonna scream out
This is great
(Oh my god, this is great)

What a long way we've come from, "You look amazing, just the way you are." I could accept that this was tongue-in-cheek, but that's no excuse to be so obnoxious and cockey about it. This, and the song's inane video, means that this song makes my skin crawl. Also, it's Number effing Two on the UK charts. Pull yourself together, UK.

1.) Bass Down Low - Dev



We're here, ladies and gentlemen. The song that inspired the list, a horrific American splodge that insults the neurons and destroys the eardrums. A sequel of sorts to the equally vapid "Like A G6," Bass Down Low takes the abject stupidity of that record and manages to fully drain it of any miniscule positives. 
      Its similarities to G6 are immediately apparent; the bassline is identical and Dev's contributions to that earlier track help to imbue this opus with much of its familiar obnoxious arrogance. That, of course, coupled with both songs' meaningless lyrics, tinged with only the slightest smudge of relevance. Dev claims with some confidence that any possible suitors of hers must be aware that, "I like my beats fast and my bass down low." And? What does that have to do with anything? The irony is especially apparent; the song's tempo is surprisingly casual and the bass isn't particularly lower than any other song I've heard recently.
      Of course, to any American readers this is old news; the song dropped out of the charts there with a peak of #64. But the song is currently in my native charts in the UK, climbing because of an impromtu remix with that omnipresent figure, Tinie Tempah. I can only hope it goes the same way as in the States. 

And that was my Top (Bottom?) Five Songs I Hate. I hope that the above songs haven't offended your sensibilities too much, as they offended mine. 

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That Doctor Who review will appear some time next week, as either three seperate articles or as one bumper-review covering Day of the Moon, Curse of the Black Spot and the highly anticipated The Doctor's Wife. I also hope to finish Lost 4.10 and maybe take a glance at Being Human 1.4, but I'm making no promises whatsoever. 


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Review: The Family Jewels

The Family Jewels - Marina and the Diamonds (2010)

Hmph. Another one I've been holding off. I think I've just come to the conclusion that reviewing Music isn't my forté - people like to read about bad music, and I only review things that I listen to. I should have reviewed this album around the same time as The Defamation of Strickland Banks and Eliza Doolittle, but I just couldn't make myself do it.
      True, Marina Lambrini Diamandis has a unique take on pop music that makes it a little difficult to review on casual listenings. Her improvisational and often absurd methodology seems to have cultivated a more sincere and honest album than most of the things on the modern market, and yet it's never boring. Surprise always lies behind the next corner as her highly charged and spontaneous lyricisms present a convincing image of modern life.
     What amazes me, perhaps more than anything, is the subtlty with which Marina throws across many of her worries about the modern world while still producing what, at first glance, look like perfectly average pop songs; "Hollywood" is the perfect of this, a biting satire of the eponymous industry. The song that really stands out for me, however, is "Obsessions," an emotive ballad with absurd lyrics that serves not only as a pessimistic love song, but also as an attack on the modern perception of celebrity and brand.
     The Family Jewels is one of those marvelous albums that appeals to both the general and specialist markets - catchy pop songs with absurd lyrics, coupled with satire and an ever-present emotional vein. Diamandis, as a musical outsider, has given her own take on that world and of the world around us. A good listen and a gem of 2010.


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Review: The Fool

The Fool, Warpaint (2010)

Set up in 2004, Warpaint have by this point made their name on the indie scene. They came to my attention due to their inclusion in this year's BBC Sound of... Competition, and I immediately fell in love with their hypnotic style and potent lyrics. The Fool isn't exactly revolutionary; it's too subdued for that, too layed back. A silent revolution, then, because this is like almost nothing that has come before.
     The band's main hallmarks, immediately noticable in their first single, "Set Your Arms Down", are a complex bassline, 70s-style psychedelic guitars and strong, floating vocals. The first single throws us into this world from the word go, drenching us with its calm but driven attitude. This is followed by the self-titled "Warpaint", which has a more distinctly Eastern feel to it and picks up on those military connotations using marching-drums and a faster tempo. 
     I've got a soft spot for the next track on the album, "Undertow", which you'll remember from the BBC Sound of... review. While the dreamy, rustic bassline is interesting, the lyrics here are the main attraction - memorable and catchy without losing any of their meaning. I also simply adore the vocals.
     "Bees," as one would expect from the title, is a little more busy, with over-layed basses and a dreamy vocal. This is also the first song on the album to use rather obvious synth. I don't like this as much as the others, because there's too much going on and it feels a little shoddy. Decent guitar work though.
    The next single is the quiter "Shadows", siren-like vocals floating over a simple, rustic bassline on guitar. I notice at this point that each song has a lot of emotive character to it. "Shadows" is dissapointed, tired. Worn down. After that, "Composure" displays some faintly African influences with a light chanting that soon becomes irritating, after which it develops into a slow 80s ballad. Too repetitive for my liking, unfortunately.
     "Baby" feels more like a traditional ballad, with a slow guitar in the back and vocals slightly more akin to Dido (and in my book, that's not a negative.) Penultimate single "Majesty" is more of the same. Final mention goes to "Lissie's Heart Murmur", a nice piece with a piano and a very hushed vocal.
     My problem with slo-core is that the song manages to get its points across in a relatively short space of time and can only repeat that later on. It may just be my attention span, but for some reason the slow, melancholic drawls don't manage to entertain me for the amount of time I feel forced to listen.
    So, to sum up, The Fool is an enthusiastic excercise of the slo-core concept with quite a few decent ideas and songs, but it suffers from the issues inherant within the genre. A couple of songs also just amplified these issues with their repetitive lyrics and basslines. So; buy nor not? I personally wouldn't buy this album, but I would take a quick look at some of their music on Youtube because it is at least notable and interesting.

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A Few Words: "All I Want For Christmas Is New Year's Day", by Hurts

Hurts - All I Want For Christmas is New Years Day (Official)

A big part of Christmas is the music, especially for taking a look at years' past. Christmas music, for me, has exposed me to greats like John Lennon, Paul McCartney and Slade from an early age, helping me to at first understand the great music of the 60s, 70s and 80s. Noughties attitudes mean that Christmas music is rarely written. Hurts, however, disagree with this sentiment.
     And, to be honest, the song is standard Hurts fare - a melancholic drawl with optimistic lyrics that sort of flies by without much notice. The song has a lot of warmth and definitely fits the seasonal theme, but it blends in too well with the rest of the songs in their ouvre. So; worth a listening - if you like Hurts.

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A Few Words: "1962 - 1966" and "1967-1970"

The rock band. The ultimate in the history of British music, of all music. The Beatles are, quite simply, the best band in the world. Their success was first captured in 1973, when their self-run business Apple Corps released the two albums covering the entire 50 song singles chronology from 1962 - 1970, in which they rose to stardom and eventually split up. Why then, am I even mentioning these two albums here in 2010?
     Well, this year Apple Corps finally gave in to consumer pressure and released their songs on the completely unrelated Apple iTunes. In anticipation of this, the two albums were rereleased. And I bought them. These two albums showed me that The Beatles weren't just an old relic, weren't just a museum piece. They showed me the great talent and care put into their music, how the music took influences from the surrounding world but kept a firm grasp on its own intentions
     Wednesday was the 30th Anniversary of the death of one of the band's main figures, John Lennon, who was shot and killed in 1980 by a mad Christian, possibly angered by his blasphemous attitude. Monday two weeks ago was the 9th Anniversary of the death of George Harrison, another member with less publicity. RIP John. RIP George. Long Live The Beatles.

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Opinion: BBC Sound of 2011

I've realised over time that the BBC Sound of... competitions actually do have some thought behind them, and they've guided many of my purchases. If it weren't for this competition, I wouldn't have bothered to listen to Florence + The Machine, Little Boots, Plan B, Ellie Goulding, Marina and the Diamonds or Hurts. So, for the first time, I'm actually paying attention. These are my three personal favourites from this year's Top 15.
(Link: here.)

1.) Clare Maguire ("Ain't Nobody")



Maguire's been working on debut album Light After Dark for two years, and while it hasn't yet been released, its lead single "Ain't Nobody" is already getting critics excited. Mixing powerful, baritone vocals with near-perfect use of synth, the track may seem a little repetitive in places but ultimately provides a unique and moving experience. I'll definitely be buying this album.

2.) Warpaint ("Undertow")



With an already firm reputation for weirdy post-Punk, Warpaint stand to further cement it this year. They've been working since 2004 and already have an EP and LP release. I like "Undertow" for its eerie, dreamlike flow with firm 80s undertones. Moving but slightly conspicious, there's a confidence overlying everything that reassures and the excellent vocal and guitar work seals the deal.

3.) The Naked and Famous ("Punching in a Dream")



In a similar vein to the above, The Naked and Famous give us an energetic synth flow with high-pitched ramblings. It's a little brash; a little gaudy, but at the same time it's powerful and modern with a lot of spunk to back it up. The Kiwi quintet have certainly left we with a good impression.

So there we have it; those are my picks. What do you think about this year's contest, and which do you think will be successful artists in 2011?

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Review: Bright Lights, sort of Revisited

 Note: For more information, see here.
(Bright) Lights, Ellie Goulding (2010)

I don't know whether to be disappointed or enthused. Ms. Goulding joins a long line of artists who, for whatever reason, decide that instead of releasing their new material on a new album, simply tack it onto a rerelease. Admittedly this was probably Polyor's decision and not hers, but it does make buying such an album a little less cost-effective than one really wants. (I'm using Spotify to review it, for anyone wondering.)
     Now that little tirade is out of the way, we have to look at the seven new tracks that constitute this rerelease, with the added burdon of context. I'm glad that Goulding has taken her six months to really fine-tune her style to create catchy, interesting pop melodies that still hold as much brilliant vocal work as I've come to expect from her. The only problem I have is that she seems to be now aiming towards a more mass-market audience, perhaps in reaction to her poor chart performance. Not that this is a necessarily a bad thing, of course, but at least two of these seven tracks just collapsed into high-tempo club music that really stuck out in Goulding's otherwise recreative ouvre.
     Now, the original Lights had a few varying styles, but the sudden quality/genre shift provided by the new material marks a clear distinction between that and Bright Lights. Of note is her cover of "Your Song", which I quickly covered a while ago, which is the only ballad on the album that isn't sprayed with techno bullshit, and stands out as superior because of it. Now, for the first time, she's also produced a song that I just can't listen to, "Animal", which is the aforementioned high-tempo fuckfest.
     Overall, the new tracks on Bright Lights are of generally higher quality than the ones on the core of her fledgling first album, but none of them really justify buying the first ten singles again. Goulding is starting to show her new experience with music, but is drifting into the world of cheaply produced trash-pop that I just can't abide. It's really up to you whether you want to buy this rerelease; if you're not too sure, I'd leave it. You're not missing much and if it's just Your Song you want, there are many other sources.

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P.S. A Happy Birthday to Asher Ahmed, who is 15 tommorrow! If anyone else has any more birthday requests, feel free to mention them on the Audenshaw Reviews Facebook Page.

A Few Words: Your Song, by Ellie Goulding

Littlewoods recently asked singer Ellie Goulding to record a cover version of Elton John's 1970 hit Your Song for use on one of their Christmas adverts, and she's also released her own video for it. Watch the video. Now.


(Thanks to elliegoulding for that video)

I reviewed Ellie's debut album back in May, and raved about how I was blown away by the skillful melding of folk and electronica. Maybe just to prove that she's actually a decent ballad singer as well, her rendition of Your Song stands out immediately from the original by being lighter and more poignant. Some are even guessing it'll be a Christmas Number one, which I look forward to after Ellie's otherwise lacklustre chart performance.

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Review: Eliza Doolittle

Eliza Doolittle, Eliza Doolittle (2010)

Eliza Doolittle is an interesting album in many ways. It isn't powerful, or potent. It doesn't have anything particularly deep to say about the world. It doesn't even ramble on about the power of love, or how relationships are unfair. No, the album before you is, I believe, the thoughts of a quirky person. That quirky person is Eliza Caird, a Londoner with hints of Lily Allen about her.
     The similarities with Allen are what initally drew me to this act. Both are nifty urban albums with a floaty sense of fun and a light, London sound. However, Dootlittle is so much lighter and less profound - and in some places is a more enjoyable listen because of it. In other areas, I was sad to find tht a lot of the songs can be a little repetitive, but in an endearing way rather than an annoying one.
     As you would expect, Doolittle's relationship songs go about the matter in completely unconventional fashion. Either she's (politely) telling a boy what's wrong with him and then complimenting him, or thinking of weird ways to love people. The whole thing is cutesy and a little charming, in stark opposition to some other female singers out there. (Yes, Beyonce, I'm looking at you.)
     Picking out a few singles, Pack Up is a nice Caribbean-themed cover, Mr. Medicine embodies what I said in my last paragraph, and Empty Hand is an eerie lullaby that just comes out of nowhere. Eliza Doolittle is an album that you should at some point have a listen to, whether its to pass the time or simply as a look-in. It's got some charming songs and a nice aesthetic, and a sense of weird realism that is absent in modern music.

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Review: The Resistance, Revisited

The Resistance, Muse (2009)

Times change. Opinions change with them. Long-term readers of the site will remember my earlier review of The Resistance. It was a little confused; half-way through the review, I suddeny started to love the album. To clarify the issue, I present to you this review.
     The Resistance is the latest in British indie-rock band Muse's repetoire of albums, and in my opinion it is by far the most immersive album. It has long been said that art can take one to another world; mentally, of course, Muse succeeds here where many others have failed.
     So what is the secret to the sheer number of great hits on this album? Three things. The first is continuity. Each song has a distinctive sound and yet blends in with the ones around it. The second are the instruments involved. As well as having brilliant rock, Muse blend classical music into their pieces, taking the best from both and making something that feels both enjoyable and emotional to listen to. The third are the lyrics, which are powerful yet appropriate, stirring and yet silently witty.
     Yes, this was just an excuse for me to gush over Muse, but that's my point. A line in my first review said that you had to concentrate. I now believe that the opposite is true. If you can sit back and listen to the music, without expecting anything of it, then The Resistance will blow you away. Get caught up in the hype, and you may be a little too ready to enjoy it.
   
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Review: Chasing Lights

Chasing Lights, The Saturdays (2008)

For me there are three types of music - Music played by proper musicians, Music I like to Listen To, and then Chart Music. Very rarely, the last two overlap, but here they do not. When I review Chart Music, I always manage to find some problem or just some way of not liking it. But I've set myself a challenge. Listen to some stereotypically Chart-Pop and see what I can make of it. Cue The Saturdays.
     The high-time of my music Nostalgia is Summer 2008, and this is where The Saturdays really stepped onto the market with single "Up". It was formulaic, but catchy, and so it of course shot up the charts. The rest of this albums' singles and all of the tracks in general are quite similar - electro-pop melodies with little passion or energy, mostly about talking to some man about some vague relationship troubles. Does it entertain? To the populist mind, yeah. They're ok songs for the teen market, and qualify well for the Chart Music category. As a more experienced and private thing? Well, for nostalgia maybe, but no self-respecting person listens to The Saturdays for their entertainment value.
     Looking at the group dynamic, it's certainly a strong bond. You get a certain feeling of sisterly bonding but each is audibly different enough to stand out in her own right. The problem is more structure and content than anything else - songs that have lazily repetitive lyrics with uninspiring subjects. The Saturdays fill the Chart niche just fine, and I don't think they want to climb out of it.

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Review: Happiness (and 150th Post)

Happiness, Hurts (2010)

Ironic album titles are nothing new. Only a few years ago, Leona Lewis had the hit single, "Happy," which was about feeling down. Here, an entire album gets the treatment, as a series of sad, down or outright deppressing songs are collected into "Happiness". The name of the band should have tipped you off, though.
    Happiness is, of course, about looking back upon despair, and that it does in many varying ways, utilising many different musical styles in the process. Maybe light rock is your forte, or maybe gospel choir-infused indie pop? Regardless, the songs are entertaining enough in their own right and the album flows well. It isn't what I would call an "emo album," - what my mother would refer to as, "Songs to slit your wrists to." There's a definite twinge of hope amongst the sorrowful chords, some little spark that stops Happiness from going too far. Whatever it is, it works well to make the album less generic.
      Notable tracks... are everywhere. I couldn't really pick out any tracks better than the others. Of note, of course, is "Devotion", which features Kylie Minogue - a positive sign to see big celebrities sponsoring actual talent for a change ("cough"Justin Bieber"cough"). Happiness is an entertaining album to listen to in all moods, with its freshness of tone and its hopeful "twinges" that bring everything together.

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This is Audenshaw Reviews' 150th Post, and I'd like to say that so far, I have had a lot of fun. Occassionally it has felt like a chore, or an extra piece of work to complete, but I see it more as a hobby. And, like all hobbies, my writing has changed a lot over the past months. Why don't you go and check out my older posts, in the archives to the right? Some are bad, others masterpieces. Regardless, I hope this blog continues for another few years, and that my readership grows with it.

For the 151st time, Thanks.